Citation
A History of Rock N' Roll Curriculum for High School

Material Information

Title:
A History of Rock N' Roll Curriculum for High School
Creator:
Burwell, Matthew A.
Place of Publication:
Gainesville, FL
Publisher:
College of Fine Arts; University of Florida
Publication Date:
Language:
English
Physical Description:
Project in lieu of thesis

Thesis/Dissertation Information

Degree:
Master's
Degree Grantor:
University of Florida
Committee Chair:
Bazan, Dale E.
Committee Co-Chair:
Goldie, Sandy B.

Subjects

Subjects / Keywords:
High school students ( jstor )
High schools ( jstor )
History instruction ( jstor )
Learning ( jstor )
Music analysis ( jstor )
Music appreciation ( jstor )
Music education ( jstor )
Musical performance ( jstor )
Popular music ( jstor )
Rock music ( jstor )

Notes

Abstract:
The purpose of this capstone project was to design an 18-week History of Rock n’ Roll course for the high school level (9th-12th grade). This course includes unit and lesson plans designed to fully engage the students in learning about the history of vernacular music. The course was designed to align with the NAfME standards as well as the Massachusetts State Arts Frameworks. This document serves as a template for teaching the course using current teaching philosophies and will implement modern technological tools. The course content covers field hollers/work songs, delta blues, early rock n’ roll and progresses to contemporary music, encompassing many different genres associated with what we call “rock n’ roll”.
General Note:
Music Education terminal project

Record Information

Source Institution:
University of Florida Institutional Repository
Holding Location:
University of Florida
Rights Management:
Copyright Matthew A. Burwell. Permission granted to the University of Florida to digitize, archive and distribute this item for non-profit research and educational purposes. Any reuse of this item in excess of fair use or other copyright exemptions requires permission of the copyright holder.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL By MATTHEW A. BURWELL SUPERVISORY COMMITTEE: DR. DALE E. BAZAN, CHAIR DR. SANDY B. GOLDIE, MEMBER A PROJECT IN LIU OF THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2014

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 2 Abstract The purpose of this capstone project was to design an 18 week History of Rock n' R oll course for the high school level ( 9 th 12 th grade ). This c ourse include s unit and lesson plans designed to fully engage the students in learning about the history of vernacular music . The course was designed to align with the NA f ME standards as well as the Massachusetts State Arts Frameworks . This document serve s as a template for teaching the course using current teaching philosophies and will implement modern technological tools. The course content cover s field hollers/work songs, delta blu es, early rock n' roll and progress es to contemporary music, enco mpassing many different genres associated with what we call " rock n' roll ".

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 3 History of Rock n' Roll Curriculum for High School Teaching a History of Rock n' Roll class for the last three years has been a wonderful experience , and one that I feel is equally enjoyable and educational for my students. I've found that this course has been an oasis for students who love music but have no performance experience, the so called other 80% or "non traditional music students" (Williams , 2007). Student s enrolled in this course have the opportunity to delve deeper into the history of vernacular music, inclu ding its literature and history as well as its social and cultural value. Green (2006) notes " popular music can be educationally valued, both for itse lf and in relation to its potential for leading pupils out into a wider sphere of musical appreciation" (p. 102). This course has validated her assertion and proved its value in the school curriculum by including a greater percentage of the student popula tion in the Performing A rts curriculum. Woody (2007) makes the bold statement that "adoption of certain popular music practices may be the key to improving formal music education all together" (p. 32 ) . Popular music, especially r ock n' roll and its man y offshoots is the music our students are listening to. Using this to facilitate formal education is clearly a sound strategy. Just as the mathematics teacher uses practical, real world examples to t each concepts so too should the music teacher. Using a whole course devoted to popular music, History of Rock n' Roll , will offer students 18 weeks of standards based music education with real world applications. A comprehensive curriculum on the History of Rock n' Roll can , and should , facilitate the National Association for Music Education's ( NAfME ) National Standards for Music Education (Music Educators National Conference, 1994) as well as the

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 4 Massachusetts Arts Curriculum Frameworks ( MA Frameworks , 1999) . While standards such as " l istening to, analyzing, and describing music " (p. 1) , could be addressed in such a class, there is the potential to go deeper and challeng e students by including improvisation and songwriting (i.e., composition). I believe that this can be accomp lished through a rigorous, well planned curriculum. While courses such as my History of Rock n' Roll class exist across the country at both the secondary and collegiate level it seems its educational importance has yet to be fully explored. In his discourse o n popular music pedagogy (PMP) , Mantie (2013) points out the fact that there are relatively few scholarly studies on the topic despite the importance placed on "popular music" at the Tanglewood Symposium in 1968 . In fact , the second tenant of the Tanglewood Declaration highlights the inclusion of "m usic of all periods, styles, forms , and cultures belongs in the curriculum. The musical repertory should be expanded to involve music of our time in its rich variety, including currently popular teenage music and avant garde music, American folk music, and the music of other cultures" (Choate , 1968 , p. 135 ). American popular music is an important carrier of culture; this aspect should not be overlo oked in our classrooms (McCarthy, 1995 ). While many of the old aspersions that r ock music is somehow less valuable than traditional Western Art Music have been abandoned I do not think vernacular mus ic has been fully tapped for it s educational potential (Woody, 2013) . I've found both through research and experience that vernacular music is an amazing educational vehicle. Hebert and Campbell (2000) point out that vernacular music "can be examined analytically for its music and textual essence and probed in ways that are not considered when listened to in a casual and informal manner" ( p. 19 ).

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 5 This course will combine both formal and student directed music instruction. While formal education in the form of lectures , guided listening and other traditional instruction will give students necessary historic al, cultural and theoretical backgrounds , the use of student directed learning will allow students to explore some of these topics on a more personal level. Jaffurs (2004) has found this to be a great way to connect with students, create meaningful educational experiences and instill lifelong music learning and appreciation. Andrews (2002) points out that individualized, small group and other educational approaches that encoura ge student interact ion and individual curiosity have been highly effect ive in many subject areas . This experiential or non traditional education model will be a key component in this History of Rock n' R oll course. Course Outline The main topics outlined in the courses are as follows (Table 1.). The course is designed to give students a broad overview of the History of Rock n' R oll from the evolution of blues music to current rock music. Week # Topic Desired Results Artists Covered National a nd Massachusetts State Standards Addressed Unit Plan Page # 1 What i s r ock n' roll ? Define r ock n' roll . Understand the basic elements of rock n' roll music. Create a family tree. Responding 5. Critical Response 8. Concepts of Style 10 12 2 Pre r ock n' roll Ð Work Songs, Field Hollers, Blues Gain historical background of the blues. Understand the form and construction of traditional blues. Compose and record Bessie Smith, Ma Rainy, LeadBelly, Robert Johnson, Son House, T Bone Wa lker Creating Responding Performing 4. Improv and Composition 6. Purpose s 12 14

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 6 a 12 bar blues . John Lee Hooker, Howlin' Wolf, Muddy Waters, and Meaning s 3 Country Roots Understand "Country" music 's influence on r ock n' roll . Lefty Frizzell, Hank Williams, Johnny Cash Responding 5. Critical Response 6. Purposes and Meaning s 7. Roles of Artists 8. Concepts of Style 14 16 4 5 Early r ock n' roll to 1960. Understand s ocial , cultural and political background ( both black and white Americans ) that lead to the invention of r ock n' roll, as well as important figures in early rock n' roll. Louis Jordan, Ike Turner, Pat Boone, Fats Domino, Bill Haley & His Comets, Elvis Presely, Little Richard, Chuck Berry, Jerry Lee Louis, Buddy Holly, Ritchie V alens Responding 5. Critical Response 6. Purposes and Meaning s 7. Roles of Artists 8. Concepts of Style 9. Technology 16 19 6 American r ock n' roll 1960 1964. Understand s ocial, c ultural and political changes as well as s teri lization and commercializat ion and g enre fragmentation. The Ronnettes, Paul Anka, The Coasters, The Chiffons, Dick Dale, The Kingsman, The Beach Boys Responding Creating 5. Critical Response 6. Purposes and Meaning s 7. Roles of Artists 8. Concepts of Style 9. Technology 19 21 7 Folk Influence Understand political changes in white American post WWII 1964. Compose a protest song. Woody Guthrie, Pete Seeger, Bob Dylan Responding Creating 5. Critical Response 6. Purposes and Meaning s 7. Roles of 21 23

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 7 Artists 8 Soul Music Understand black cultural and social changes. Understand the role of the session musician. Ray Charles, James Brown, Sam Cooke, Smokey Robinson, Stevie Wonder, Marvin Gaye, The Temptations, The Supremes, The Jackson 5, Otis Redding, Aretha Franklin, Re sponding 5. Critical Response 6. Purposes and Meanings 7. Roles of Artists 8. Concepts of Style 23 25 9 The British Invasion Compare and Contrast American and British culture. Write and present an album review (The Beatles). The Beatles, The Rolling Stones, The Who, The Kinks, Responding 5. Critical Response 6. Purposes and Meanings 7. Roles of Artists 8. Concepts of Style 9. Technology 25 28 10 1960's American Music Explore the many different genres rock had fragmented into. Create a "jam" song using GarageBand. The Jefferson Airplane, The Grateful Dead, Big Brother and the Holding Co., The Doors, Jimi Hendrix Responding Creating 3. Playing Instruments 4. Improv and Composition 5. Critical Response 6. Purposes and Meanings 7. Roles of Artists 8. Concepts of Style 28 31 11 The 70's Ð Singer/Songwriters and folk Rock Explor e continued genre fragmentation with a f ocus on woman in rock. The Byrds, Simon & Garfunkle , CSN&Y, Van Responding 5. Critical Response 6. Purposes 31 33

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 8 Morrison, Joni Mitchell, James Taylor, Carole King, Carly Simon and Meanings 7. Roles of Artists 8. Concepts of Style 12 Country Rock and Southern Rock Understand s outhern musical and cultura l influences on rock with a focus on the importance of the guitar solo in the genre. The Band, CCR, Lynard Skynard, The Allman Bro. Responding Creating 5. Critical Response 6. Purposes and Meanings 8. Concepts of Style 33 35 13 Heavy Metal and Hard Rock Understand hard rock as a reactionary force. Understand and plan a tour. Black Sabbath, Led Zeppelin, Queen, Alice Cooper, Aerosmith, KISS, Van Halen, Pink Floyd, David Bowie Responding 5. Critical Response 6. Purposes and Meanings 7. Roles of Artists 8. Concepts of Style 35 37 14 Funk and Reggae Understand black music, its influences and importance. Remix a funk song in GarageBand. George Clinton, Sly and the Family Stone, Bob Marley Responding Creating 4. Improv and Composition 5. Critical Response 6. Purposes and Meanings 7. Roles of Artists 8. Concepts of Style 37 40 15 Disco vs. Punk Understand sterilization, commercialization and the reactions against it. Create a disco song. The Bee Gee's, Gloria Gaynor, The Village People, The Sex Pistols, The Stooges, The Ramons, The Clash Responding Creating 4. Improv and Composition 5. Critical Response 6. Purposes and Meanings 7. Roles of Artists 8. Concepts 40 42

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 9 of Style 9. Technology 16 1980's Rock Understa nd the roll of the "super star" as well as the roll and use of technolog y in r ock music. Michael Jackson, Madonna, Prince, Bruce Springsteen Responding 5. Critical Response 6. Purposes and Meanings 7. Roles of Artists 9. Technology 43 45 17 18 Modern Rock Understand the journey of r ock n' roll as a genre. Create a family tree of a students' favorite band/art i s t post 1990 and trace its evolution from the 1950's. Metallica, Nirvana, Pearl Jam, Oasis, Radiohead Responding Creating 4. Improv and Composition 5. Critical Response 6. Purposes and Meanings 7. Roles of Artists 8. Concepts of Style 45 47 Table 1 Ð Course Outline This c apstone p roject is design ed to provide a comprehensive History of Rock n' R oll for High School course for my s tudents , though it can be used as a template to implement this course in other schools . This design include s unit and lesson plans as well as sample assessments t hat align with the Massachusetts Arts Curriculum Frameworks ( MA Frameworks , 1999) . Throughout the course, students will be employing the use of current technology in order to facilitate learning and comprehension . The course design also include s formative and summative assessments and projects. The design of this course will be implemented in my own teaching at the high school level.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 10 Unit Plans The following unit plans are based on the Understanding by Design ( UbD) model pioneered by Wiggin s and McTighe (2011) . Unlike traditional unit plans that are often regimented and largely teacher lead "UbD is a way of thinking purposefully about curricular planning, not a rigid program or prescriptive recipe" (Wiggins & McTighe 2011). The UbD model i s designed to offer students the ability to think deeper and more personally about the topics and skills covered in this course on a more autonomous level. While not a performance based course , many of the units offer opportunities for students to create original works of music using the skills covered in the unit. It is the goal of the following unit plans to not only ensure that students gain knowledge of the topics and skills covered in the course but also have the ability to demonstrate these through a variety of projects and assessments . Unit 1 Ð What is r ock n' roll ? Stage 1 Desired Results ESTABLISHED GOALS 5.12 Demonstrate an understanding of how musical elements interact to create expressiveness in music. 5.14 Listen to performances of extended length and complexity with proper attention and audience protocol 8.6 Classify works from the United States and world cultures by genre, style, and historical period; explain why the Transfer Students will be able to independently use their learning toÉ T1 Use student generated definition of r ock n' roll to analyze a wide variety of music and genres in the future. T2 Use knowledge of the basic musical elements that go into r ock n' roll to analyze, appreciate and understand various music students will encounter in this course as well as throughout their lives. Meaning UNDERSTANDINGS Students will understand thatÉ U1 What rock n' roll is exactly . U2 Music, in this case r ock music, is made up of 7 basic elements. U3 The "back beat" creates the ESSENTIAL QUESTIONS Students will keep consideringÉ Q1 How are the 7 basic elements of music used

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 11 works exemplify a particular genre, style, or period. foundation of most r ock music. U4 These musical elements combine to make coherent music. U5 Most modern, contemporary music has it's roots in r ock n' roll . to create a rock song? Q2 How does the feel of t he back beat, or lack there of effect music? Q3 How does the music that I listen to relate to this course? Acquisition Students will knowÉ K1 The 7 basic elements of music are rhythm, dynamics, melody, harmony, timbre, texture and form. K2 How to discern a back beat. K3 The history of rock n' roll directly relates to modern, contemporary music. K4 Strategies for activ e listening. Students will be skilled atÉ S1 Defining and identifying the 7 basic elements of music. S2 Identifying the back beat in a piece of music. S3 Being able to actively listen to a piece of music. Stage 2 Evidence Evaluative Criteria Assessment Evidence Clear and thorough explanation Skillful Good detail Clear reflection PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ Their ability to assess musical examples on a deeper level as well as actively listen to a piece of music and express their thoughts verbally and through writing. For example, 1. Task: Listen to a piece of vernacular music focusing on one element of music. Students will demonstrate their ability to do this through a class di scussion. 2. Task: Same task as 1 but listen for 3 different elements. Students will demonstrate their ability to do this through a class discussion. 3. Task: Same as task 2 but students will demonstrate their understanding through writing. Responsive to the musical elements Mechanically sound OTHER EVIDENCE: Students will sho w they have achieved Stage 1 goal s byÉ 4. Teacher assessment of Tasks 1 3. 5. Passing a written test on the 7 elements of music and a student generated definition of rock n' roll (matchi ng and open response). 6. Perform ing a back beat to piece of music by clapping. Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 12 Student success at transfer, meaning and acquisition depends uponÉ Transfer: Applying their learning through class discussions, writing examples, and a summative assessment. All instruction is formatively assessed through the following: The topics/skills are introduced. The topics/skills are d emonstrated under full, teacher based instruction. The t opics/skills are demonstrated under teacher prompting only. The topics/skills are demonstrated by independent student discussion The topics/skills are demonstrated through writing without teaching prompting. Meaning: Understanding the relation of the history of r ock n' roll to contemporary music. Understanding the 7 basic elements of music and their relation to r ock music. The ability to effectively discuss a piece of music on a deeper level with a focus on the 7 elements of music. The ability to e ffectively write about music. Acquisition: Learning the 7 basic elements of music. Learning how the h istory of r ock n' roll related to contemporary music th rough a family tree. Experiencing active listening and understand ing its importance as a skill fo r the course. Specific Skills and T erms: Rhythm Dynamics Melody Harmony Timbre Texture Form Instrumentation Active Listening Lineage Unit 2 Ð Pre Rock n' R oll Ð Work Songs, Field Hollers, Blues Stage 1 Desired Results ESTABLISHED GOALS 4.2 Improvise and compose simple rhythmic and melodic ostinato accompaniment. 4.5 Create and arrange short songs and instrumental pieces within teacher guidelines. 4.6 Improvise and compose simple harmonic accompaniments. 4.10 Use a variety of traditional and nontraditional sound sources and electronic media when compositing Transfer Students will be able to independently use their learning toÉ T1 C onstruct a traditional 12 bar blues using the correct form. T2 Draw connections between social, economical and racial issues in b lues music and lyrics and relate them to the music that they listen to outside of school. Meaning UNDERSTANDINGS Students will understand thatÉ U1 Blues music comes from African field hollers and work songs. U2 There are several central figures associated with traditional blues music. U3 Social, economic and racial issues had a large influence on the blues. U4 The 12 bar blues form is made up of three basic chords (I, IV, V). ESSENTIAL QUESTIONS Students will keep consideringÉ Q1 How does the historical significance of the blu es relate to contemporary music? Q2 Do social, economic and racial issues still effect contemporary music? Q3 How does the 12 bar blues relate to contemporary music.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 13 and arranging . 6.3 Interpret the meanings of artistic works by explaining how the subject matter and/or form reflects the events, ideas, religions, and customs of people living in a particular time in history. Acquisition Students will knowÉ K1 What a field holler/work song is. K2 A brief history of early blues from 1930 to 1950. K3 The major artists in classical blues music. K4 How to construct a 12 bar blues using Garage Band. Students will be skilled atÉ S1 Identifying the 12 bar blues form. S2 Composing a 12 bar blues. S3 U sing the basic functions of GarageBand. Stage 2 Evidence Evaluative Criteria Assessment Evidence Skillful Well crafted Informative Detail Mechanically sound PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ Composing and recording a traditional 12 bar blues in a small group. 1. Task: Write out the form of a 12 bar blues in the key of C on a piece of notation paper with each triad (I, IV, V) in root position in whole notes. 2. Task: Explore the loops on GarageBand and create 12 bars of a drum or percussion loop. 3. Task: Record a simple piano accompaniment using I, IV and V in root position as well as a bass line (hands can be recorded separately). 4. Task: Write 2 verses of blues lyrics (suggest AAB lyrical form). 5. Task: Record a vocal part for your written lyrics. Knowledgeable (form, chords, notation, etc.) Quality of presentation Revealing and informative OTHER EVIDENCE: Students will show they have achieved Stage 1 goals byÉ 6. Teacher assessment of Tasks 1 5. 7. Actively participating in class discussion. 8. Sharing their 12 bar blues composition with their class. Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction Student success at transfer, meaning and acquisition depends uponÉ Transfer: Applying their learning of the history of early blues m usic through class discussions as well as demonstrating their knowledge of the 12 blues form through a simple composition on GarageBand. All instruction will be formally assess ed through the following:

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 14 The topics/skills are introduced. Knowledge of the topics/skills are demonstrated through class discussions. Knowledge of the topics/skills are demonstrated through a t eacher guided composition. Meaning: Understanding the relationship between social, economical and racial issues and early blues music. Understanding how blues has influenced contemporary music. Being able to compose a blues song. Acquisition: Learning about important early blues artists. Learning how to compose a 12 bar blues. Specific Skills and Terms: Bessie Smith Ma Rainy Lead Belly Robert Johnson Son House John Lee Hooker Howlin' Wolf Muddy Waters T Bone Walker 12 Bar Blues Field Holler Work Song 12 Bar Blues Field Holler Work Song loops AAB Lyric Form Unit 3 Ð Cou ntry Roots Stage 1 Desired Results ESTABLISHED GOALS 5.14 Listen to performances of extended length and complexity with proper attention and audience protocol. 5.15 Analyze and describe uses of elements of music in a given work that make it unique, interesting and expressive. 6.3 Interpret the meanings of artistic works by explaining how the subject matter and/or form reflect the events, ideas, religions, and cuts of peop le living at a particular time period. 7.5 Analyze how the arts and artists are portrayed in contemporary Transfer Students will be able to independently use their learning toÉ T1 Draw connections between country music and contemporary pop/rock music in both the music presented in this course as well as the music they listen to outside of school . T2 Dispel myths commonly held by many students that country music is an unsophisticated genre with less merit than other forms of vernacular music. Meaning UNDERSTANDINGS Students will understand thatÉ U1 Country music has its roots in European, specifically English, folk songs. U2 Country music sprang from a more rural, white culture. U3 Country music had a large influence on what would become r ock n' roll U4 AM Radio was a sig nificant contributor to the popularization of Country Music. U5 Country music features some unique instruments not found in other styles of music. ESSENTIAL QUESTIONS Students will keep consideringÉ U1 Does Country music influence contemporary pop or rock music? If so how? U2 How does the commercialized Country music of today differ from Country music of 20's 50's? U3 How has the influence of radio changed since the 1920's? U4 Do the stereotypes associa ted with country music really hold any merit?

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 15 newspapers, magazines, films and electronic media. 8.6 Classify works from the United States and world cultures by genre, style, and historical period; explain why the works exemplify a particular genre, style, or period. Acquisition Students will knowÉ K1 The origins of Country music. K2 Some of the major figures in country music (pre 1960). K3 The instruments that are unique to Country music. K4 The influence Country music has had on r ock n' roll . K5 Major country recording artists that influenced rock n' roll. Students will be skilled atÉ S1 Identifying the major country music figures (pre 1960). S2 Describing the basic characteristics that make Country music unique. Stage 2 Evidence Evaluative Criteria Assessment Evidence Clear and appropriate reflections Revealing and informative. Clear explanation . Effective critical analysis PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ Their participation in class discussions reg arding Country music as well as their ability to write about Country music and highlight some of its unique properties. For example, 1. Task: Stude nts will listen to "Blue Moon of Kentucky" by Bill Monroe (1946). Students will identify the distinct elements that make this record "Country". 2. Task: Students will listen to "Blue Moon of Kentucky" as performed by Elvis Presley (1954). Students will i dentify the difference between these recordings. 3. Task: Students will discuss the differences and similarities between the two recordings. Topics highlighted should be: musical elements, chords (I, IV, V) and distinctly "Country" or " r ock n' roll " identif iers. Historically accurate Knowledgeable Thoroughness of explanation OTHER EVIDENCE: Students will show they have achieved Stage 1 goals byÉ 4. Passing a written test on Country music. Questions will include historical facts, knowledge of key figures, knowledge of unique instruments as well as listening examples. Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction Student success at transfer, meaning and acquisition depends uponÉ Transfer: Applying their learning through class discussions and a summative assessment. All instruction will be formally assessed through the following: The topics are introduced.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 16 The topics are demonstrated under teacher prompting. The topics are demonstrated by independent student dis cussion Meaning: Understanding the unique properties of Country music and its relationship to r ock n' roll , t he ability to actively listen to a piece of music and compare and contrast it in a class discussion, understand the negative myths of country musi c as well as understanding some of the social and economical issues associated with early country m usic and the commercialization of modern Country music. Acquisition: Learning how c ountry music and r ock n' roll are closely related and the ability to a u rally identify instruments and styles un ique to country music through musical examples from influential artists. Specific Skills and Terms: Blue Grass Honkey Tonk Hillbilly Pedal Steel Guitar Fiddle The Grand Ole Opry AM Radio Lefty Frizzell The Carter Family Hank Williams Johnny Cash Patsy Cline Unit 4 Ð Early Rock n' R oll to 1960 Stage 1 Desired Results ESTABLISH ED GOALS 5.12 Demonstrate an understanding of how musical elements interact to create expressiveness in music. 5.16 Demonstrate the ability to perceive, remember, and describe in detail significant occurrences in a given aural example. 6.5 Interpret the meanings of artistic work s based on evidence from the artists' biographies, autobiographies, or videotaped or written Transfer Students will be able to independently use their learning toÉ T1 Analyze the social and cultural and racial influences that lead to the invention of r ock n' roll . T2 Demonstrate how technology influenced the invention of r ock n' roll and how technology continues to change popular music. T3 Analyze contemporary music and draw connections to its early adopters. Meaning UNDERSTANDINGS Students will understand thatÉ U1 Rock n' roll is an amalgamation of blues, country and rhythm and blues music along with ot her outside influences such as jazz and l atin music. U2 Racial influences of r ock n' roll and how racial barriers were crossed. U3 The pioneers of r ock n' roll continue to have an influence o n popular music today. U4 Technological advances in the 1950's greatly influenced the birth of r ock n' roll . U5 Early r ock n' roll has some ESSENTIAL QUESTIONS Students will keep consideringÉ Q1 Do racial and social issues and continue to effect contemporary popular music? Q2 Do technological advances continue to effect contemporary popular music? Q3 Are genres and influences still being combined today to create unique musical styles? Q4 Can we h ear the influence of the pioneers of r ock n' roll in todays contemporary music?

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 17 interviews. 6.6 Describe and analyze examples of art forms that integrate practical functions with aesthetic concerns. 7.6 Describe various roles that artist s serve, cite representative individuals who have functioned in these roles, and describe their activities and achievements. 8.7 Identify works, genres, or styles that show the influence of two or more cultural traditions, and describe how the tradition s are manifested in the work. 9.2 Identify and describe examples of how the discovery of new inventions and technologies, or the availability of new materials brought about changes in the arts in various time periods and cultures. common forms and musical devices. Acquisition Students will knowÉ K1 How race, specifically the influence of white teenagers influenced the popularization of Rock n' roll Music. K2 Biographical background on some of the important pioneers of early r ock n' roll music. K3 How technology influenced early r ock n' roll . K4 Different musical devices common in many early r ock n' roll songs. K5 Identify common forms of early rock n' roll music. Students will be skilled atÉ S1 Identifying racial and social influences on early r ock n' roll music. S2 Identifying musical examples of early r ock n' roll pioneers. S3 Drawing connections between early r ock n' roll and contemporary music. S4 Identi fying form and common musical devices used in early r ock n' roll . S5 Recognizing how technology influenced and continues to influence American popular music. Stage 2 Evidence Evaluative Criteria Assessment Evidence Effective critical analysis PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 18 Clear and appropriate reflections Mechanically sound Well crafted Their ability to transfer cultural, historical, biographical, technological and musical knowledge abo ut early r ock n' roll highlighting the invention of the genre and how these aspects continue to influence contemporary music. 1. Task: Using the Socratic method the teacher will assist the students in identifying some of the cultural issues that influenced r ock n' roll . 2. Task: Active listening to examples of early r ock n' roll highlighting various music elements as well as lyrical content and common musical devices. 3. Task: Students will compare and contrast the biographical information of a white artist (Je rry Lee Lewis) and a black art ist (Chuck Berry) through an in class discussion. 4. Task: Same task as 3 , but students will choose two other artists (one white and one black) and compare and contrast their works in a short writing example. Historically acc urate Knowledgeable OTHER EVIDENCE: Students will show they have achieved Stage 1 goals byÉ 5. Teacher assessment of Task 4. 6. Passing a test on early r ock n' roll music. Topics include biographical information, cultural influences and listening examples. 7. Showing evidence of understanding through participation in class discussions. Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction Student s uccess at transfer, meaning and acquisition depends uponÉ Transfer: Applying their knowledge of unit topics first through class discussions then through writing as well as a summative assessment. All instruction will be formally assessed through the fol lowing: The topics are introduced. Students further explore the topics through class discussions using the Socratic method. The topics/skills are demonstrated through writing. Meaning: Understand ing the various musical influences that blended together to create r ock n' roll , t he strong influence of culture and race on early r ock n' roll , h ow the early pioneers of r ock n' roll continue to have an influenc e on today's contemporary music as well as t he role of technology in early r ock n' roll music and its relation to contemporary popular music. Acquisition: Learning the various elements both social and musical that blended together to create r ock n' roll and students' ability to a urally identify examples of early r ock n' roll music highlighting the aspects that make these examples unique to the style. Specific Skills and Terms: R&B Stop Time Transistor Radio Teen angst/reb els

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 19 A utomobile s Louis Jordan Ike Turner Pat Boone Fats Domino Bill Haley & His Comets Elvis Presley Chuck Berry Little Richard Jerry Lee Louis Buddy Holly Richie Valens Cinema Alan Freed payola Unit 5 Ð American Rock n' R oll 1960 1964 Stage 1 Desired Results ESTABLISHED GOALS 5.17 Compare and contrast ways in which compositional devices and techniques are used in two or more examples of the same piece, genre, or style. 6.6 Describe and analyze examples of art forms that integrate practical functions with aesthetic concerns. 7.5 Analyze how the arts and artists are portrayed in contemporary newspapers, magazines, films, and electronic media. 8.6 Classify works from the United States and world cultures by genre, style, and historical periods; explain why the works exemplify a particula r genre, style, or period. 9.8 Evaluate the effectiveness of the use of a particular technology to achieve an artistic effect. Transfer Students will be able to independently use their learning toÉ T1 Analyze the effect of corporatization on r ock n' roll music. T2 Determine influences of genre fragmentation and the historical roots of different music both within the class and in the music they listen to outside of school. Meaning UNDERSTANDINGS Students will understand thatÉ U1 T he death, incarceration or self imposed retirement of the original r ock n' roll stars had a drastic effect on Rock music going into the 60's. U2 Top 40 Radio and "Teen Idols" lead to the sterilization and commercialization of r ock n' roll music. U3 As r oc k n' roll music evolved it began to spin off other genres. ESSENTIAL QUESTIONS Students will keep consideringÉ Q1 How were the musicians who followed the original r ock n' roll stars influenced by them? Q2 How were the musicians that followed the origi nal r ock n' roll stars different from them? Q3 How are todays pop stars similar to the teen idols of the early 60's? Q4 Are new genres of popular music continuing to spin off today? If so, how? Acquisition Students will knowÉ K1 Biographical information about the ending of the careers of the early rock pioneers (Elvis, Jerry Lee Lewis, Chuck Berry, Little Richard and Buddy Holly). K2 How Top 40 radio, popularization and corporatization of r ock n' roll music a ffected the genre. K3 The contributions of the professional songwriters to the genre, specifically the Brill Building composers. K4 About the specific genres of Students will be skilled atÉ S1 Defining commercialization and its effects on r ock n' roll in the early 60's as well as today. S2 Aurally identifying different genres of r ock n' roll music. S3 Identifying the main traits that make a teen idol and relating these traits to todays pop stars.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 20 Surf Rock, Garage Rock and Pop Rock. K5 Recording techniques of Phil Spector and Brian Wilson. K6 The effects of genre fragmentation, its roots, and how it is manipulated to form a new genre. Stage 2 Evidence Evaluative Criteria Assessment Evidence Effective critical analysis Thoroughness of explanation Quality of presentation Good detail Well crafted PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ Their knowledg e of, and ability to discuss the transition from the original r ock n' roll artists to the second wave of artists. 1. Task: Discuss how the absence of the original r ock n' roll artists made way for a second wave of artists, many of which were much more sterile than there predecessors. 2. Task: Compare the California culture that fostered surf rock to a geographical area today that spawned a new genre. 3. Task: Create a PowerPoint presentation comparing and contrasting a teen idol to a contemporary pop star. Historically accurate Clear explanation O THER EVIDENCE: Students will show they have achieved Stage 1 goals byÉ 4. Showing evidence of understanding through class discussions. 5. Passing a written assessment on the topics covered in class. 6. Accurately identifying listening examples both by artist and by genre. Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction Student success at transfer, meaning and acquisition depends uponÉ Transfer: Applying their learning first through discussion then through a summative assessment as well as a PowerPoint presentation. All instruction carried out is formatively assessed through the following: The topics are introduced. Active participation in c lass discussions. Demonstrating ability to make connections of the topics covered in class. Topics are demonstrated through a written assessment. To pics are demonstrated through a visual/oral presentation. Meaning: Analyzing the void that was left as the early r ock n' roll stars ended their careers and the results of this void. The effects of commercialization on r ock n' roll . The beginnings of genre splitting in r ock n' roll , why this happened and the effects it caused. Acquisition: Learning about the second wave of r ock n' roll artists and their influence

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 21 on the genre as a whole. Learning how commercialization, sterilization and popularization effected and still effects r ock n' roll Music. Specific Skills and Terms: Teen Idols Top 40 Radio The Brill Building The Wall of Sound Surf Rock Garage Rock Paul Anka Ricky Nelson Frankie Avalon The Ronnettes Phil Spector Goffin & King Leiber & Stoller The Kingsmen The Beach Boys Commercialization Unit 6 Ð Folk Influences Stage 1 Desired Results ESTABLISH ED GOALS 5.14 Listen to performances of extended length and complexity with proper attention and audience protocol. 6.5 Interpret the meanings of artistic works based on evidence from the artists' biographies, autobiographies, or videotaped or written interviews. 7.6 Desc ribe various roles that artists serve, cite representative individuals who have functioned in these roles, and describe their activities and achievements. 7.9 Identify artists who have been involved in social and political movements, and Transfer Students will be able to independently use their learning toÉ T1 Look for and recognize deeper meaning within lyrical content. T2 Use their "voice" to express themselves on a social or political topic. Meaning UNDERSTANDINGS Students will understand thatÉ U1 Music can be used as a vehicle to express ones views. U2 Music can have a powerful influence and can be used for change. U3 Music and politics have often gone together. U4 Bob Dylan is one of the single most influential figures in r ock n' roll music and his influence is still felt today. ESSENTIAL QUESTIONS Students will keep consideringÉ Q1 How is music used for social, political or cultural change today? Q2 Is music as eff ective in forcing change today as it was in the 1950's and 1960's? Q3 Are there still influences of f olk music in contemporary music? If so, what are they? Acquisition Students will knowÉ K1 How the political changes in post WWII America effected music, specifically folk music. K2 How music has been used a vehicle for change. K3 The influence of the major f olk music figures, specifically Bob Dylan, on contemporary music. Students will be skil led atÉ S1 Extracting meaning from f olk music lyrics. S2 Using their own "voice" through written lyrics to express themselves. S3 Drawing connections between Folk music and todays contemporary music.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 22 describe the sig nificance of selected works. Stage 2 Evidence Evaluative Criteria Assessment Evidence Effective critical analysis Well crafted Thoroughness of explanation Revealing and informative Quality of presentation PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ Their ability to find deeper meaning in lyrics, analyze these meanings and use these inferences to express themselves . For example, 1. Task: Analyze the lyrical meaning of a popular folk song, "The Times They Are A Changing" by Bob Dylan. 2. Task: Same as Task 1 but with the song "What Did You Learn In School Today" by Pete Seeger. 3. Task: Write 2 3 stanzas in a folk style about a social or political issue that is meaningful to them in today's society. 4. Task: Presenting the meaning of their own song with their peers and foster a d ialogue about their work. Skillful Historically accurate Reveling and informative OTHER EVIDENCE: Students will show they have achieved Stage 1 goals byÉ 5. Peer assessment and analysis of student compositions. 6. Passing a written assessment on folk music and its place in the History of r ock n' roll . 7. Students' ability to speak about a current social or political issue through their own work. Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction Student success at transfer, meaning and acquisition depends uponÉ Transfer: Applying their learning to an original lyrical work as well as passing a summative test on folk music. All instruction will be formally assessed using the following criteria: The topics/skills are introduced. The topics/skills are explored through a teacher lead discussion. The topics/skil ls are explored through student lead discussions. The t opics/skills are demonstrated through an original lyrical work. The lyrical skills are peer assessed. Meaning: Students will understand the i mportance of folk music and it s place in the overall h istory of r ock n' roll . Topics are discussed in depth in both teacher and student lead discussions. Topics are skills are demonstrated through and original work.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 23 Acquisition: Connections are made about social/political issues and their use in music, specifically folk music. Students will be able to articulat e how these uses have or have not made their way into contemporary music. Students will have the biographical information about important figures in folk music and the influence they've had on today's music. Specific Skills and Terms: Socialism C ommunism The labor movement Woody Guthrie Bob Dylan Pete Seeger Lyric Writing metaphor Censorship McCarthyism Unit 7 Ð Soul Music Stage 1 Desired Results ESTABLISH ED GOALS 5.14 Listen to performances of extended length and complexity with proper attention and audience protocol. 6.5 Interpret the meanings of artistic works based on evidence from the artists' biographies, autobiographies, or videotaped or written interviews. 7.5 Analyze how the arts and artists are portrayed in contemporary newspapers, magazines, films, and electronic media. 7.6 Describe various roles that artists serve, cite representative Transfer Students will be able to independently use their learning toÉ T1 Determine the relationship between S oul music and black culture of the 1960's. T2 Analyze the role of session musicians in the music business both in s oul music and contemporary music. Meaning UNDERSTANDINGS Students will understand thatÉ U1 While r ock n' roll was originally pioneered by black musicians it began to be dominated by whites in the 1960's. Soul music reclaimed black music. U2 Soul music contained a whole culture even beyond the music. U3 Much of the great S oul music was performed by sessio n musicians. U4 Aspects of Soul music were influential in the advent of Hip Hop music. ESSENTIAL QUESTIONS Students will keep consideringÉ Q1 What modern genres are used as vehicles for black artists? Q2 What modern artists are using classic Soul music styling's in their music? Q3 What are the racial and social issues surrounding traditionally black music being adopted by white artists? Acquisition Students will knowÉ K1 How Gospel music influenced Soul music. K2 Biographical information about the major figures in Soul music. K3 Aspects of black culture in the 1960's and their effect on black Students will be skilled atÉ S1 Drawing connections between black culture and Soul music. S2 Identifying works by the major Soul artist. S3 Drawing connections between Soul music and contemporary

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 24 individuals who have functioned in these roles, and describe their ac tivities and achievements. 7.9 Identify artists who have been involved in social and political movements, and describe the significance of selected works. 8.6 Classify works from the United States and world cultures by genre, style, and historical periods; explain why the works exemplify a particular genre, style, or period. music. K4 The role of the session musician in Soul music. black music (specifically Hip Hop). Stage 2 Evidence Evaluative Criteria Assessment Evidence Effective critical analysis Clear and appropriate reflections Clear explanation PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ Their ability to draw connections between the racial and social issues surrounding Soul music and racial and social issues surrounding contemporary black music (specifically Hip Hop). Students will also demonstrate their knowledge of the role of session musicians in Soul music as well as contemporary music. 1. Tas k: Describe the r elationship between the 1964 Voting Rights Act, the 1968 Civil Rights act and their relationship to black culture. 2. Task: Same as Task 1, but highlight the relationship in music. 3. Task: Describe the musical devices that are unique to Soul music. 4. Task: Describe the relationship between "stars" and session musicians in Soul music as well as contemporary music. Historical accuracy OTHER EVIDENCE: Students will show they have achieved Stage 1 goals byÉ

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 25 Thoroughness of explanation 5. Demonstrate knowledge of topic through teacher prompting. 6. Demonstrate knowledge of topic through peer discussions. 7. Passing a written exam on Soul music with listening examples included. Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction Student success at transfer, meaning and acquisition depends uponÉ Transfer: Applying the knowledge of the topics addressed in the unit thro ugh both teacher lead and peer l ead discussions as well as passing a summative test on the topics covered in the unit. All instruction will be formally assessed using the following criteria: The topic is introduced. The topi c is analyzed through a teacher lead discussion. The topic is analyzed through a peer based discussion. Connections bet ween Soul music and contemporary music are independently demonstrated by each student. Meaning: Understanding the social, cultural and racial factors that lead to the advent of Soul music. Understanding the role of session musicians in Soul music as we ll as contemporary music. How the major figures in Soul music defined the genre and influenced their contemporaries. Acquisition: Learning the unique musical devices used in Soul music. Understanding the historical significance of the genre. The abil ity to draw inferences between the unique properties of Soul music and its influence on contemporary black music. Specific Skills and Terms: Mot own Berry Gordy The Funk Brothers Stax Records Booker T & The MG's Civil Rights Movement Black Power Session Musicians Ray Charles James Brown Sam Cooke Smokey Robinson Stevie Wonder Marvin Gaye Aretha Franklin The Jackson 5 The Supremes Ot is Redding Drum Break Hip Hop Sampling Unit 8 Ð The British Invasion Stage 1 Desired Results ESTABLISH ED GOALS 5.12 Demonstrate an understanding of how musical elements interact to create expressiveness in music. 5.15 Analyze Transfer Students will be able to independently use their learning toÉ T1 Determine the impacts British music of the 1960's had on r ock n' roll as a whole. T2 Analyze an entire album, write about it and present their ideas to their peers. Meaning UNDERSTANDINGS Students will understand thatÉ U1 Cultural differences between ESSENTIAL QUESTIONS Students will keep consideringÉ Q1 How does the music and

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 26 and describe uses of the elements of music in a given work that make it unique, interesting, and expressive. 6.5 Interpret the meanings of artistic works based on evidence from the artists' biographies, autobiographies, or videotaped or written interviews. 7.6 Describe various roles that artists serve, cite representative individuals who have functioned in these roles, and describe their activities and achievements. 8.7 Identify works, genres, or styles that show the influence of two or more cultural traditions, and describe how the traditions are manifested in the work. 9.3 Identify and describe examples of how artists make innovative uses of technologies and inventions. Britain and America, post WWII, was an important factor. U2 American r ock n' roll greatly influenced British popular music. U3 The Beatles are one of the most influent ial and important bands in the h istory of r ock n' roll and popular music as a whole. U4 Many British bands wrote and performed their own songs as opposed to A merican popular music that often used professional songwriters and session musicians. culture associated with the British Invasion continue to influence contemporary music? Q2 How did British bands use the 7 elements of music and why was it unique? Q3 Why do many music historians consider The Beatles to be on of the best r ock n' roll bands of all time, and is this justified? Acquisition Students will knowÉ K1 The cultural aspects that lead to the British Invasion. K2 Biographical information about the major artists associated with the British Invasion. K3 How the British musicians used American music influences in a unique way. K4 How to analyze an entire album, form an opinion of it and express this opinion both verbally and through writing. Students will be skilled atÉ S1 Recognizing how culture effects music. S2 Articulating opinions through writing as well as verbally. S3 D rawing connections between the major British Invasion acts and contemporary popular music. S4 Identifying unique timbres and other sonic devices popularized by British Invasion artists.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 27 Stage 2 Evidence Evaluative Criteria Assessment Evidence Effective critical analysis Clear explanation Good detail Well crafted PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ Their ability to transfer the topics/skills covered in the unit to articulate the importance and influences of music from the British Invasion. 1. Task: Describe the cultural differences between Britain and America and show how they influenced music of the British Invasion. 2. Task: Discuss the movement away from using professional songwriters and sess ion musicians as influenced by artists from the British Invasion. 3. Task: Discuss and demonstrate unique timbres, sonic devi ces and the role of recording techn ology used by British Invasion a rtists. 4. Task: Articulating opinions of an entire album both verba lly and through writing. Historical Accuracy Knowledgeable Quality of presentation OTHER EVIDENCE: Students will show they have achieved Stage 1 goals byÉ 5. Leading a discussion on their album review. 6. Passing a written exam on The Beatles including listening examples. Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction Student success at transfer, meaning and acquisition depends uponÉ Transfer: Applying and demonstrating their learning through class discussions, both teacher and student lead, writing and presenting an album review, as well as passing a summative test. All instruction will be formally assessed under the following criteria: The topics/skills are introduced. Participation in instructor lead discussion demo nstrating knowledge of the topics/skills. The ability to foster a dialogue with their peers. The ability to effectively write and present their personal opinions. The ability to highlight cultural factors in relationship to the topics covered in c lass. Meaning: Understanding the influence that American music covered in previous units had on British music of the 1960's. The influence that British music had on American music in the 1960's. How musical devices were altered or invented by British I nvasion musicians and their significance in both music of the 1960's and contemporary music. Acquisition: Learning historical, cultural and biographical information regarding the British Invasion and the major artists associated with it. Having the abi lity to form salient opinions on a collection of music (album) and articulate those opinions both verbally and through writing. The ability to foster a dialogue based on their personal

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 28 opinions. Specific Skills and Terms: Skiffle British Invasion Albums (LP) Lonnie Donegan The Beatles The Kinks The Who Riff Rock The Rolling Stones Tape Loops Music Videos Wings Concert for Bangladesh Sitar Tabla London 12 String Guitar Pirate Radio Liverpool Unit 9 Ð 1960's American Music Stage 1 Desired Results ESTABLISH ED GOALS 3.2 Play expressively with appropriate dynamics, phrasing and articulation, and interpretation. 4.5 Create and arrange short songs and instrument pieces within teacher specific guidelines. 4.13 Improvise ori ginal melodies over given chord progressions consistent in style, meter, and tonality. 5.11 Listen to formal and informal performances with attention, showing understanding of the protocols of audience behavior appropriate to the style of the performanc e. 6.5 Interpret the meanings of artistic works based on Transfer Students will be able to independently use their learning toÉ T1 Analyze social, and culture factors, specifically the Vietnam War and the influence of drugs on American music of the 1960's. T2 C reate an original "jam" song in the vein of Acid Rock. T3 Determine similarities between the end of the 1950's and the end of the 1960's in relati on to the lose of major artists and its effects . Meaning UNDERSTANDINGS Students will understand thatÉ U1 The influence of the Vietnam war on both youth culture and the music associated with it. U2 The influence of drug experimentation and its influence on the music of the 1960's as well as its negative consequences. U3 What it means to create a free form imp rovisation or "jam". U4 Musicians of the 1960's changed the way musicians were viewed both by the general public and themselves. ESSENTIAL QUESTIONS Students will keep consideringÉ Q1 Have the wars in Iraq and Afghanistan had any influence on contempo rary music? Q2 How is improvisation used contemporary music? Q3 Why is music of the 1960's considered by some the high water mark of r ock n' roll music? Q4 Is this opinion valid; why or why not? Acquisition Students will knowÉ K1 Historical facts about the Vietnam War, the draft, Kent State, the 1968 DNC Convention. K2 Biographical information about the major American artists of the 1960's. K3 The importance of the outdoor music festival, specifically Monterey Pop, Woodstock and Students will be skilled atÉ S1 Identifying social and cultural changes in the 1960's and how they influenced popular music. S2 Composing an original "jam" song. S3 Improvising within specific guidelines. S4 Using technology, specifically GarageBand , to express

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 29 evidence from the artists' biographies, autobiographies, or videotaped or written interviews. 7.6 Describe various roles that artists serve, cite representative individuals who have functioned i n these roles, and describe their activities and achievements. 7.8 Analyze how the arts and artists were portrayed in the past by analyzing primary sources from historical periods. 7.9 Identify artists who have been involved in social and political m ovements, and describe the significance of selected works. 8.8 Identify the stylistic features of a given work and explain how they relate to aesthetic traditions and historical or cultural contexts. Altamont. K4 How drugs factored into the music and culture of 1960's America. themselves. Stage 2 Evidence Evaluative Criteria Assessment Evidence Effective critical analysis PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ Their ability to transf er topics/skills and demonstrate how cultural and

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 30 Historical accuracy Clear explanation Clear and appropriate reflections social factors effected Rock n' roll music in the 1960's and how the continue to effe ct popular music. They will also show understanding of a "jam" song through an original, improvised composition. 1. Task: Participate in a teacher lead class discussion on the social, cultural and political factors going on in the 1960's with a focus on hi storical knowledge. 2. Task: Analyze the effect of drugs on the culture and music of the 1960's. Look at the negative impacts of drug use, specifically on the musicians at the time. 3. Task: Find an example of a piece of modern music that deals with the wars in Iraq and/or Afghanistan (these may be pro or anti war). Well crafted Skillful Revealing and informative Good detail OTHER EVIDENCE: Students will show they have achieved Stage 1 goals byÉ 4. Create an original, improvised "jam" on GarageBand . The "jam" will be based on the chords G and F Major and the improvisation will use the G Mixolydian scale. 5. Passing a written exam on the topics/skills covered in class including listening examples. Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction Student success at transfer, meaning and acquisition depends uponÉ Transfer: Applying their learning through meaningful and insightful class discussion, research and the productio n of an original, improvisation based "jam" song as well as passing a summative test on the topics discussed in class. All instruction will be formally assessed based on the following criteria: Participation in class discussions. The ability to effectively research musical examples. The ability t o transfer topics discussed in class to a contemporary piece of music (on war). The ability to create an original work using teacher guided improvisation. Meaning: Understanding the unique social, cultural and political factors that affected both societ y as a whole , and popular music in America in the 1960's. The effect of substance abuse on the musicians and young people. Understanding the process of creating an original piece of music as well as the skills needed to improvise. Acquisition: Learnin g the cultural, social and political factors of America in the 1960's and how musicians used these factors to inspire or influence their music. Learning historical and biographical information about the major American musicians and bands in the 1960's. T he ability to create an original piece of music using guided improvisation. Specific Skills and Terms: The Vietnam War Kent State '68 DNC Timothy Leary Hippies Drugs The Summer of Love Woodstock

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 31 Monterey Pop Janis Joplin Altamont Acid Rock Human Be In Jefferson Airplane The Grateful Dead The Doors Jimi H endrix Improvisation Composition GarageBand Unit 10 Ð The 70's Ð Sing/Songwriters and Folk Rock Stage 1 Desired Results ESTABLISH ED GOALS 5.12 Demonstrate an understanding of how musical elements interact to create expressiveness in music. 6.5 Interpret the meanings of artistic works based on evidence from the artists' biographies, autobiographies, or videotaped or written interviews. 7.5 Analyze how th e arts and artists are portrayed in contemporary newspapers, magazines, films, and electronic media. 8.6 Classify works from the United States and world cultures by genre, style, and historical periods; explain why the works exemplify a particular genre , style, or period. 8.8 Identify the stylistic features of a given work Transfer Students will be able to independently use their learning toÉ T1 Determine the effects of individualism and genre fragmentation on Rock n' roll music. T2 Analyze the role of woman in Rock n' roll , what there influence has been and issues associated with gender in music. Meaning UNDERSTANDINGS Students will understand thatÉ U1 Social factors and the loss of major musical, political and social figures of the 1960's had a great influence on the music of the 1970's. U2 Genre fragmentation as well as musical exploration in the recording studio lead to the expansion of the r ock n' roll genre. U3 The move towards individualism and way from "group thought" lead to the singer/songwriter movement. U4 Woman began to have a bigger role in music and what effect this had on r ock n' roll . ESSENTIAL QUESTIONS Students will keep consid eringÉ Q1 What influences do woman have on contemporary Pop/Rock music? Q2 What are the differences and/or similarities in the way female artists are portrayed today as opposed to the 1970's? Q3 How did the move toward individualism effect music of the 1970's and does contemporary continue to be individualistic? Acquisition Students will knowÉ K1 Biographical information about the major singer/songwriters and folk rock artists of the 1970's. K2 The differences between group thought and individualism and its effect on r ock n' roll music. K3 The influence of woman on Rock n' roll music, specifically their roles as singer/songwriters. K4 The use of electrification in Folk Rock and how it differs from Students will be skilled atÉ S1 Analyzing the role of gender in popular music and the way female artists have been portrayed by the media. S2 Recognizing the difference between group thought and individualism in music of the 1970's as well as contemporary music. S3 Understanding stylistic and timbral significance of using

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 32 and explain how they relate to aesthetic traditions and historical or cultural contexts. acoustic Folk music of the 1960's. acoustic vs. electric instruments. Stage 2 Evidence Evaluative Criteria Assessment Evidence Active participation in class discussions. Ability to transfer knowledge from previous units. The cause and effect of the media on female artists. PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ Their ability to accurately discuss and analyze the changes in music and culture in the 1970's as well as the influence of female artists, their music and the way they were and continue to be portrayed in the media. 1. Task: Actively participate in a class d iscussion and cite examples of individualism in music of the 1970's with special attention paid to lyrical content and topics. 2. Task: Tracing the lineage of and comparing and contrasting traditional folk music cov ered in Unit 6 and Folk Rock while b eing able to articulate the differences, specifically the electrification of folk music. 3. Task: Analyzing and citing examples of and comparing and contrasting the way woman of the 1970's were portrayed in the media and the way contemporary female artists are po rtrayed. In depth knowledge of a female artist of the 1970's. Demonstrating knowledge through assessment. OTHER EVIDENCE: Students will show they have achieved Stage 1 goals byÉ 4. Profiling a female singer/songwriter or Rock artists of the 1970's. 5. Passing a summative test on the content covered in the unit including listening examples . Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction Student success at transfer, meaning and acquisition depends uponÉ Transfer: Recognizing how societal changes lead to the evolution of r ock n' roll music of the 1970's with specific attention paid to the influence of female artists, singer/songwriters and folk rock groups and artists. All instruction will be formally

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 33 assessed base d on the following criteria: Participation in class discussions Exploration of individualism and its effect on music of the 1970's. The ability to research biographical information on a female artist. Presentation of research materials to peers and instructor. Meaning: Understanding the reasons and effects of genre fragmentation with specific attention paid to individualism. Recognizing the contributions of woman to r ock n' roll as well as the role of the media in the careers of female artis ts. The evolution and electrification of Folk Rock. Acquisition: Learning the role of individualism, genre fragmentation and gender issues in r ock n' roll music of the 1970's as well as h istorical and biographical information of singer/songwriters and folk rock musicians and bands. Specific Skills and Terms: Singer/Songwriter Folk Rock Gender Individualism Genre fragmentation The Byrds Simon and Garfunkle CSN&Y Van Mor rison James Taylor Carole King Carly Simon Joan Baez Deborah Harry Dusty Springfield Karen Carpenter Patti Smith Stevie Nicks Melaine Dolly Parton Roberta Flack Timbre Unit 11 Ð Country Rock and Southern Rock Stage 1 Desired Results ESTABLISH ED GOALS 5.14 Listen to performances of extended length and complexity with proper attention and audience protocol. 6.3 Interpret the meanings of artistic works by explaining how the subject matter and/or form reflect the events, ideas, religions, and customs of people livin g at a particular time in history. 8.6 Classify works from the United States Transfer Students will be able to independently use their learning toÉ T1 Analyze cultural factors and musical styling's associated with the American south and how they influenced r ock n' roll . T2 Determine the Rock guitar solo s place in r ock n' roll music. Meaning UNDERSTANDINGS Students will understand thatÉ U1 White musicians of the American south used both black and white musical influences to create unique genres. U2 While the guitar solo had been a prominent device in r ock n' roll music Southern musicians took the guitar solo to new heights. U3 Country Rock and Southern Rock artists often took a "back to basics" approach to songwriting. ESSENTIAL QUESTIONS Students will keep consideringÉ Q1 How does the unique culture in the American south continue to effect Rock music? Q2 Is modern country influenced by Sout hern and Country Rock? Q3 Is the guitar solo still prominent in contemporary music? Acquisition Students will knowÉ K1 Cultural, historical and social Students will be skilled atÉ S1 Using research skills to

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 34 and world cultures by genre, style, and historical periods; explain why the works exemplify a particular genre, style, or period. 8.8 Identify the stylistic features of a gi ven work and explain how they relate to aesthetic traditions and historical or cultural contexts. facts about the American south and its relation to r ock n' roll music. K2 The role of the guitar solo in Southern Rock music and within Rock n' roll in general. K3 Biographical information about the major artists associated with Country and Southern Rock. explore Rock guitarists. S2 Continuing to see the major influence culture has had and on r ock n' roll music. Stage 2 Evidence Evaluative Criteria Assessment Evidence Clear and appropriate reflections Thoroughness of explanation Revealing and informative Effective critical analysis PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ Their ability transfer topics/skills discussed in the unit to aural examples with attention paid to cultural influences and their relationship to contemporary Pop/Rock music. For example: 1. Task: Actively listen to "The Night They Drove Old Dixie Down" by The Band focusing on lyrical content and their relationship to southern culture. 2. Task: Actively listen to "Southern Man" by Neil Young focusi ng on lyrical content. 3. Task: Same as task 2 but the song "Sweet Home Alabama" by Lynard Skynard. 4. Task: Analyze the lyrical dialogue between the two songs highlighting social, historical and cultural issues addressed in both songs. Good detail Skillful Historical accuracy OTHER EVIDENCE: Student will show they have achieved Stage 1 goals byÉ 5. Completing a Webquest on "The Greatest Rock Guitar Solo Ever" 6. Passing a summative exam on the topics covered in the unit.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 35 Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction Student success at transfer, meaning and acquisition depends uponÉ Transfer: Demonstrating the effect of southern culture and country influenced music and its influence on r ock n' roll as well as exploring c ultural, social and racial issues analyzing how they were addressed in music of the 1970's as well as contemporary music. All instruction will be formally assessed based on the following criteria: Participation in class discussions. Ability to analy ze lyrical content and relate it to cultural issues of the time period. Ability to research and find appropriate aural examples of the topics covered in class. Ability to form and defend a personal musical opinion. Meaning: Understanding the unique aspects of s outhern culture and how this culture affected music of the 1970's and how it may or may not affec t contemporary popular music. T he importance of the guitar solo in r ock n' roll music and the role it has had in r ock n' roll music from the 1950' s to today. Acquisition: Determining t he role that Southern culture had and continues to have on popular music with special attention paid to biographical, historical, cultural and racial factors. Specific Skills and Terms: Webquest Civil War Segregation Racism Guitar hero's The Band Credence Clearwater Revival Lynard Skynard Neil Young Lyrical Analysis Unit 12 Ð Heavy Metal and Hard R ock Stage 1 Desired Results ESTABLISH ED GOALS 5.12 Demonstrate an understanding of how musical elements interact to create expressiveness in music. 6.5 Interpret the meanings of artistic works based on evidence from the artists' biographies, autobiographies, or videotaped or written interviews. Transfer Students will be able to independently use their learning toÉ T 1 A nalyze the reactionary musical force that Heavy Metal and Hard Rock in relation to music covered in previous units. T 2 Create a tour for a rock band and demonstrate how this is done. Meaning UNDERSTANDINGS Students will understand thatÉ U1 Heavy Metal and Hard Rock were reactionary forces to the music happening in the late 1960's and 1970's. U2 The lyrical themes presented in Heavy Metal and Hard Rock were very different from genres covered in previous units. U3 There is a lot of planning and logistics required for a touring ESSENTIAL QUESTIONS Students will keep consideringÉ Q1 What genres or artists in contemporary music share some of the same reactionary forces to pop music. Q2 How has touring changed today and what effects have corporate sponsors had on these tours? Q3 Do ar tists still create dif ferent on stage personas, and if so how

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 36 7.8 Analyze how the arts and artists were portrayed in the past by analyzing primary sources from historical periods. 8.6 Classify works from the United States and world cultures by genre, style, and historical periods; explain why the works exemplify a particular genre, style, or period. band. U4 Heavy Metal and Hard Rock saw the resurgence of British bands. U5 Many Heavy Metal and Hard Rock artists created on stage personas that differed from who they were in "real life". are they similar or different than the artists covered in this unit? Acquisition Students will knowÉ K1 What kinds of ideas and music Heavy Metal and Hard Rock artists were reacting against. K2 Biographical information about the major artists associated with Heavy Metal and Hard Rock. K3 The logistics that go into planning a major tour. Students will be skilled atÉ S1 Comparing and contrasting Heavy Metal and Hard Rock vs. other genres of the 1960's and 7 0's covered in previous units. S2 Understanding and planning a tour. S3 Describing the unique use of dynamics, timbre and texture in Heavy Metal and Hard Rock music. Stage 2 Evidence Evaluative Criteria Assessment Evidence Effective critical analysis Clear and appropriate reflections Thoroughness of explanation PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ Their ability to compare and contrast Heavy Metal and Hard Rock with other genres of the 1960's and 70's covered in previous units with special attention paid to lyrical content, dynamics, timbre, texture and performance practices. 1. Task: View a video pe rformance of "Brown Eyed Girl" by Van Morrison focusing on lyrical content, dynamics, timbre, texture and performance practices. 2. Task: Same as 1 , but with a video performance of "Paranoid" by Black Sabbath. 3. Task: Compare and contrast the videos from Ta sks 1 and 2. 4. Task: Describe a stage persona and what role it plays in a performance (David Bowie, Ozzy Osborne, Alice Cooper, etc.). Good detail Revealing and informative Historical accuracy OTHER EVIDENCE: Students will show they have achieved Stage 1 goals byÉ 5. Plan ning a tour for a r ock band including materials/gear needed, crew to be hired, cities/venues to visit, transportation, merchandise , promotion and other costs associated with a major tour and present the findings to their peers. 6. Passing a written exam on the topics covered in the unit. 7.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 37 Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction Student success at transfer, meaning and acquisition depends uponÉ Transfer: The ability to relate the topics covered in this unit to previous units, specifically unit 10. Students will understand and utilize information gained in this unit and its relationship to how artists/bands are able to tour to promote their music. Student s will understand music's power as a reactionary force both in society itself and in i ts relationship to other genres. All instruction will be formally assessed based on the following criteria: Participation in class discussions. Ability to transfer k nowledge from pervious units to the topics addressed in this unit. Research skills. Presentation skills. Analysis of both audio and video examples with attention paid to performance practices. Meaning: Understanding the social and musical influences that lead to the birth of Heavy Metal and Hard Rock music and how this genre has influenced contemporary music. The planning and preparation that go along with mounting a tour for an artist or band. Acquis ition: Determining how new genres of music can spring from a reaction against established genres. Biographical and historical information about the major artists of the 1970's Heavy Metal and Hard Rock genres. Understand the role of performance practice s with special attention paid to on stage personas and how they are used to enhance music. Specific Skills and Terms: Touring Reactionary forces Lyrical Analysis Corporate Sponsorship Stage Person as Performance Practices Drop Tuning Timbre Merchandising Texture Dynamics Art Rock Black Sabbath Led Zeppelin Queen Alice Cooper Aerosmith Van Halen Kiss David Bowie Pink Floyd Unit 13 Ð Funk and Reggae Stage 1 Desired Results ESTABLISH ED GOALS 4.10 Use a variety of traditional and nontraditional sound sources and electronic media when Transfer Students will be able to independently use their learning toÉ T 1 Analyze the progression of black music through the 1970's and its influence on contemporary black music, specifically Hip Hop. T 2 Create an original Funk song using the technique of re mixing. Meaning UNDERSTANDINGS Students will understand thatÉ ESSENTIAL QUESTIONS Students will keep consideringÉ

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 38 composing and arranging. 5.12 Demonstrate an understanding of how musical elements interact to create expressiveness in music. 6.5 Interpret the meanings of artistic wo rks based on evidence from the artists' biographies, autobiographies, or videotaped or written interviews. 7.6 Describe various roles that artists serve, cite representative individuals who have functioned in these roles, and describe their activities a nd achievements. 7.9 Identify artists who have been involved in social and political movements, and describe the significance of selected works. 8.7 Identify works, genres, or styles that show the influence of two or more cultural traditions, and des cribe how the traditions are manifested in the work. U1 Funk music stems from R&B and Soul music covered in Unit 7. U2 Funk music relies less on a melody and more on a "groove". U3 Funk music, along with music from Unit 7 was highly influential in the advent of Hip Hop. U4 By "cutting up" a funk song and using l oops we can create a new song all together. U5 Reggae music was one of the first forms of World music to influence r ock n' roll . Q1 How has Funk music influenced contemporary music? Q2 What is th e interplay between the melody and the groove in modern Pop music? Q3 What influence has world music had on contemporary popular music? Q4 What are the ways technology can be used to create new music out of previously recorded material ? Acquisition Students will knowÉ K1 How black music progressed and changed in the 1970's, specifically with relations to Unit 7. K2 The difference between the melody and the "groove" and what relationship that have to one another in a specific song. K3 The influenc e of Reggae music, specifically Bob Marley on Rock n' roll music. K4 The influence of Funk music on Hip Hop music. K5 Historical and biographical information about the major artists in the Funk and Reggae genres. Students will be skilled atÉ S1 Analyzing and describing the relationship between the melody and the "groove" with relation to Funk music. S2 Using technology, specifically GarageBand, so create music. S3 Remixing a song using the techniques of cutting, splicing, and looping. S4 Identifying the influence of Reggae and World Music in r ock n' roll .

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 39 Stage 2 Evidence Evaluative Criteria Assessment Evidence Clear and appropriate reflection Revealing and informative Mechanically sound Well crafted PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ By their ability to draw relationships between Funk music and the musi c and artists covered in Unit 7, this included not only musical analysis but also the analysis of how social and cultural situations are addressed in the music. Students will also understand the impact that Reggae music had on the history of r ock n' roll and the ways in which it allowed World music to enter the genre. 1. Task: Listen to the first minute of "(Not Just) Knee De ep" by Funkadelic listening for the bass line at :52. Label this "sample 1". 2. Task: Listen to the first minute of "Atomic Dog" by George Clinton listening for the melody at :47. Label this "sample 2". 3. Task: Listen to the first 1:30 "Give Up The Funk (Tear The Roof Off The Sucker)" by Parliament listening for the vocal melody. Label this "sample 3" 4. Task: Listen to "Who Am I (What's My Name?)" by Snoop Dogg (clean version). Use the above samples to make a listening map and describe how these samples are used and to what effect. Quality of presentation Knowledgeable Good detail OTHER EVIDENCE: Students will show they have achieved Stage 1 goals byÉ 5. Students will create a re mix of "Dance To The Mus ic" by Sly and the Family Stone using GarageBand. 6. Students will present their re mix to the class and describe how and why they used the samples they did as well as a description of their arrangement and form. Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction Student success at transfer, meaning and acquisition depends uponÉ Transfer: The ability to chart the progression of black music from Unit 7 to Unit 13 as well as its implications and influences on contemporary music, spec ifically Hip Hop and the role of the "sample". Students should also understand the role of the Reggae music in the 1970's and how it brought World music into r ock n' roll music. All instruction will be formally assessed based on the following criteria: Participation in class discussions Demonstrating active listening Ability to create a listening map Composing/a rranging skills. Presentation skills. Meaning: Analyzing the importance of Funk music, specifically "the groove" and its

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 40 continued influence on popular music. Students will also understand the social messages espoused in both Funk and Reggae music regarding the statues of blacks in society. Acquisition: Creating an original re mix of "Dance To The Music" demonstrating techn ical skills as well as musical creativity. Not only will students be able to create a "re mix" , they will also be able to describe the process behind it. Specific Skills and Terms: Funk Hip Hop Reggae World Music Groove Sampling Re Mix GarageBand Parliament/Funkadelic George Clinton Sly & the Family Stone Bob Marley James Brown Snopp Dogg Dr. Dre Unit 14 Ð Disco vs. Punk Stage 1 Desired Results ESTABLISH ED GOALS 4.5 Create and arrange short songs and instrument pieces within teacher specific guidelines. 5.12 Demonstrate an understanding of how musical elements interact to create expressiveness in music. 6.6 Describe and analyze examples of art forms that integrate practical functions with aesthetic concerns. 7.2 Describe the roles of artists in specific cultures and periods, and compare similarities and differences in these roles. 8.6 Classify works from the Transfer Students will be able to independently use their learning toÉ T1 Determine the reasons that Disco was the biggest pop music trend in the history of r ock n' roll and how it relates to todays pop music, specifically electronic music. T2 Analyze Punk /underground music and its contrast with Disco /pop music with an emphasis on sterilization and commercialization. T3 Create an original Disco track. Meaning UNDERSTANDINGS Students will understand thatÉ U1 Disco was the biggest pop music trend in the history of r ock n' roll . U2 Disco brought dance back to popular music. U3 Disco relied heavily on synthesizers. U4 The commercialization and sterilization associated with Disco music lead to an extreme backlash. U 5 Punk music was a reaction against Disco and other forms of "soft" rock music. ESSENTIAL QUESTIONS Students will keep consideringÉ Q1 How does the Disco era compare to todays pop music both musically and culturally? Q2 Are there artists today that st ray from their own genre to make popular "hits"? Q3 What are the effects, if any, that Punk music had on todays popular music? Q4 Is there a genre or artists out there today that are creating music to fight commercialization and sterilization? Acquis ition Students will knowÉ K1 Why Disco dominated the air waves and record sales between 1976 and 1979. K2 The relationship between Disco, fashion, drugs and dancing. Students will be skilled atÉ K1 Identifying the relentless rhythm in Disco music, specifically the rol e of the drums. K2 Comparing the formulaic nature of Disco and contemporary

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 41 United States and world cultures by genre, style, and historical periods; explain why the works exemplify a particular genre, style, or period. 8.8 Identify t he stylistic features of a given work and explain how they relate to aesthetic traditions and historical or cultural contexts. 9.3 Identify and describe examples of how artists make innovative uses of technologies and inventions. K3 Why there was such a dramatic backlash that lead to the demise of Disco. K4 The social and musical factors that lead to the rise of Punk music. K5 Biographical and historical information about the major Disco and Punk artists. popular music. K3 Looking at how the commercialization of music often leads to sterilization. K4 Identifying genres or artists that rebel against popular music, why they do so , and has it been successful or not. Stage 2 Evidence Evaluative Criteria Assessment Evidence Effective critical analysis Thoroughness of explanation Knowledgeable (regarding the 7 elements Revealing and informative PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ Determining t he cause of the rise of Disco, it's domination of the market and the causes of the backlash that lead to its demise. Students will also explore the use of synthesizers in the Disco genre , it's impact on the music, and the impact it continues to have today. Major themes in Punk music will also be explored including the music itself, lyrical messages, fashion and social factors. Students will be able to compare and contrast these factors to Disco music. 1. Task: Actively listen to "Stayin ' Alive" by The Bee Gee's. Listen for the role of the drums in the track. What is the beat? Is there a backbeat? Does it ever vary? 2. Task: Actively listen to "I Feel Love" by Donna Summer. Listen for the use of synthesizers, how they are used and what role they place in the track. 3. Task: Actively listen to "Blitzkrieg Bop" by The Ramones. Listen to the instrumentation, tone, texture, lyrics and the drumbeat.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 42 4. Task: Compare and contrast "I Feel Love" a nd "Blitzkrieg Bop" focusing 7 elements of music as well as lyrical content. Mechanically sound Good detail Quality of presentation Skillful OTHER EVIDENCE: Students will show they have achieved Stage 1 goals byÉ 5. Students will use the knowledge gained in Tasks 1 4 to create their own disco track on GarageBand using loops. 6. Students will share their tracks with the class highlighting how the used some of the elements of music and how the achieved the Disco "sound". Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction Student success at transfer, meaning and acquisition depends uponÉ Transfer: Determining and citing the reasons Disco music was the biggest trend in Pop music and its relation to contemporary pop music focusing on sterilization and commercialization and their effect on music as well as the use of synthesizers. Students will also be able to draw connections between the 7 elements of music and lyrical content an d their unique roles in p unk mu sic and the dichotomy between punk and d isco music. All instruction will be formally assessed based on the following criteria: Participation in class discussions. Demonstrating active listening. Ability to properly analyze music citing the 7 elements of music. Lyrical Analysis Composing/Arranging Skills. Presentation Skills. Meaning: Determining t he reasons Pop music, in particular Disco , can become sterile and formulaic and the role commercialization has in this. Students will also understand the se p op trends often spawn genres that are in opposition, in this case Punk music. The 7 elements of music will be revisited and used to analyze new genres of music (Disco and Punk). The ease or difficulty in compo sing formulaic music. Acquisition: The use the skills/topics covered in this unit to create an original Disco track focusing on the 7 elements of music and how to stylistically use them to create a genre appropriate work. Students will also be able to describe their work effectively. Specific Skills and Terms: Disco Synthesizers Sterilization Commercialization Punk Power Chord Dancing Fashio n GarageBand Arranging Loops The Bee Gee's Gl oria Gaynor Donna Summer The Village People CBGB's The Sex Pistols The Stooges The Ramones The Clash

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 43 Unit 15 Ð 1980's Rock Stage 1 Desired Results ESTABLISH ED GOALS 5.11 Listen to formal and informal performances with attention, showing understanding of the protocols of audience behavior appropriate to the style of the performance. 6.5 Interpret the meanings of artistic works based on evidence from the artists' biographies, autobiographies, or videotaped or written interviews. 6.6 Describe and analyze examples of art forms that integrate practical functions with aesthetic concerns. 7.8 Analyze how the arts and artists were portrayed in the past by analyzing primary sources from historical periods. 9.5 Identify and describe examples of how technological development in one artistic domain can Transfer Students will be able to independently use their learning toÉ T1 Draw connections between technology in the music of the 1980's, its effect on the music business and issues surrounding today's digital music issues. T2 Recognize the rise of the r ock "superstar", their domination of the charts and their effect on the music business and any artist of today who have reached the same stature and their relationship to the music business. Meaning UNDERSTANDINGS Students will understand thatÉ U1 Leaps in technology, specifically the advent of tapes and CD's greatly changed the music business. U2 MTV, had a huge impact on r ock music and the music business as a whole. U3 A hand full of Pop/Rock superstars dominated the charts in the 1980's. ESSENTIAL QUESTIONS Students will keep consideringÉ Q1 How is the rise of digital music effecting music and music business? Q2 Are the negative effects of the rise of digital music most felt by the artists or record companies? Q3 What is the role of music videos in contemporary Pop/Rock and how does it compare to the role MTV had in the 1980's? Q4 Are there any r ock superstars in contemporary music, if so who are they and how do they compare to the superstars of the 80's? Acquisitio n Students will knowÉ K1 How the rise of tapes, CD's effected the music business and musicians. K2 What MIDI is and its impact on Pop/Rock music. K3 The role of the music video and MTV on artists of the 1980's. K4 Biographical and historical information about the Pop/Rock superstars of the 1980's. Students will be skilled atÉ S1 Analyzing economic issues surrounding the use of technology in music. S2 Highlighting the importance of visuals, specifically music videos, to artis ts/bands.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 44 influence work in other artistic domain s. Stage 2 Evidence Evaluative Criteria Assessment Evidence Skillful Revealing and informative Effective critical analysis PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ Their ability to transfer information surrounding the role of technological advancements in music in the 1980's, their continued progress in today's music and new issues that have arisen due to technology. 1. Task: Write a short paper comparing LP's to cassette tapes. Include issues of portability, quality, and cost. Also highlight the ability to buy blank cassettes and record music onto them. 2. Task: Watch the video for "Video Killed The Radio Star" by the Buggles understanding the role of performance practice and overall theme of the video. 3. Task: Same as Task 2 with the video for "Here It Goes Again" by OK GO. 4. Task: Compare and contra st the videos from Task 2 and 3 focusing on performance practice and overall con struction of the individual music videos. Quality of presentation Historical accuracy OTHER EVIDENCE: Students will show they have achieved Stage 1 goals byÉ 5. Successfully p resent ing findings from Task 4 to the class. 6. Passing a summative test on the content covered in the unit including listening examples. Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction Student success at transfer, meaning and acquisition depends uponÉ Transfer: U nderstand ing and analyzing the issues associat ed with new technologies of the 1980's and its effects on the music business and artists themselves as well as understand ing the role that videos and appearance have on music and musicians, ( specifically how this affected the rise of the "superstar" in the 1980's ) . All instruction will be formally assessed based on the following criteria: Participation in class discussions. Active listening/viewing of artists. Ability to relate topics covered in the unit to contemporary issues. Meaning: Determining t he role that technology has played and conti nues to play in popular music, determining t he role of the video in Rock/Pop music, its development and ways it changed the way artist present themselves and Reasons for the rise of the r ock "superst ar" in the 1980's. Acquisition: Analyzing performance practices with regards to music videos highlighting

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 45 their effect on the artists and the music itself. Students will also understand the role technology has in today's music business with regards to di gital music. Specific Skills and Terms: LP's Cassette Tapes Compact Discs Dubbing MP3's Downloading Music Videos MTV The Bug gles Michael Jackson Madonna Prince Bruce Springsteen Unit 16 Ð Modern Rock, Completing the journey Stage 1 Desired Results ESTABLISH ED GOALS 5.14 Listen to performances of extended length and complexity with proper attention and audience protocol. 5.15 Analyze and describe uses of the elements of music in a given work that make it unique, interesting, and expressive. 5.17 Compare and contrast ways in which compositional devices and techniques are used in two or more examples of the same piece, genre or style. 6.5 Interpret the meanings of artistic works based on evidence from the artists' biographies, autobiographies, or videota ped or Transfer Students will be able to independently use their learning toÉ T1 Draw connections between r ock n' roll from the 1950's to today using the topics covered throughout the course. Meaning UNDERSTANDINGS Students will understand thatÉ U1 R ock n' roll of the 1990's was a reaction to the domination of superstars and the role image had become in Pop/Rock m usic. U2 There are common threads that run through the history of r ock n' roll including the roles of: race, culture, technology, commercialism and the reactions to these factors by artists. U3 Contemporary artists are influenced by music of the past and these influences can be traced and analyzed. ESSENTIAL QUESTIONS Students will keep consideringÉ Q1 Rock had a resurgence in the mid 1990's. Has this resurgence remained? Q2 Are there new genres of popular music forming today? If so what are they and how are they influenced by Pop/Rock music of the past? Q3 Is r ock n' roll dead? Acquisition Students will knowÉ K1 What Grunge music is and how it changed popular music almost over night. K2 How to listen for and research the musical influences of modern artist/bands. K3 The common trends and factors that seem to reoccur throughout the history of r ock n' roll . Students will be skilled atÉ S1 Actively listening to music with a focus on the possible influences on that music. S2 Researching source materials of a band or artist. S3 Demonstrating their understanding of the history of r ock n' roll .

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 46 written interviews. 7.6 Describe various roles that artists serve, cite representative individuals who have functioned in these roles, and describe their activities and achievements. 8.8 Identify the stylistic features of a given work and expl ain how they relate to aesthetic traditions and historical or cultural contexts. Stage 2 Evidence Evaluative Criteria Assessment Evidence Effective critical analysis Skillful Mechanically sound Clear explanation PERFORMANCE TASK(S): Students will show that they really understand by evidence ofÉ Their ability to synthesis the topics and skills covered in the course to create an overall picture of the genre and demon strate this knowledge through the creation of a multi media presentation. 1. Task: Watch the video of 1990's "Blaze of Glory" by Bon Jovi. Focus on the way the band is portrayed visually as well as timbre and texture of the song. 2. Task: Same as Task 1 but w ith 1991's "Smells Like Teen Spirit" by Nirvana. 3. Task: Highlight the major differences between these two songs and videos focusing on how the artists portray themselves as well as the timbre and texture of the music. Knowledgeable Quality of presentation OTHER EVIDENCE: Students will show they have achieved Stage 1 goals byÉ 5. Creating a summative multi media project tracing the lineage of their favorite band/artist, post 1990 all the way back to the 1 950's. The project will be done on Po werPo int and should include pictures as well as audio and video examples.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 4 7 Stage 3 Ð Learning Plan Summary of Key Learning Events and Instruction Student success at transfer, meaning and acquisition depends uponÉ Transfer: Synthesizing topics/skills learned throu ghout the course and demonstrating their understandings through a summative project. All instruction will be formally assessed based on the following criteria: Participation in class discussions. Active listening/viewing of artists. Ability to demonstrate major topics/skills covered throughout the course. Meaning: Demonstrating of the roles of technology, artists, performance practice, genre's, fashion/style, social/cultural issues and musical elements throughout the h istory of Rock n' roll . Acquisition: Constructing the lineage of a contemporary band/artist back to the advent of r ock n' roll music highlighting the topics/skills addressed throughout the course. Specific Skills and Terms: Lineage Family Tree Multi Media Presentation Grunge Performance Practice Nirvana Pearl Jam Soundgarden Metallica Oasis Radiohead Lesson Plans The following six lesson plans are designed to give a sample of how a daily lesson would be conducted in this course. Each lesson plan is labeled with the unit it is from and on which day of the unit the lesson would take place. Each lesson plan includes concepts/skills/values, or overall ideas of what the lesson is designed to accomplish , as well as alignments with the Massachusetts Arts Curriculum Frameworks (MA Fram e works, 1999). Importantly , behavioral learning objectives are also highlighted. These learner focused objectives are designed to be both observable and measureable (Linder Crow , 2000 ). Each lesson also includes some form of assessment (diagnostic, formative, summative, formal or informal), which alig n s with the behavioral objectives. The sequence and duration of each event is accurately charted with the focus being on keeping the lesson moving and avoiding stagnation. Finally, and maybe the most

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 48 important part of each lesson plan, is the teacher eff ectiveness reminder section. This section should be used to predict any issues that may arise in the lesson. Additionally, this section should be used by the instructor , following the lesson , to note ways in which the lesson could have been more effectiv ely executed. Unit 1 Ð Day 2 Ð 7 Elements of Music . Ð (aligned with Unit Plan on Pg. 10 12 ) Teacher Name: Mr. Matthew Burwell Date: Subject/Grade : History of Rock n' R oll /9 th 12 th grade. Concepts/Skills/Values: Students will be able to d efine the seven elements of music, identify the seven elements in listening examples, and understand how they are combined to make music. Massachusetts State Arts Frameworks 1. Singing 2. Reading/Notating 3. Playing Instruments 4. Improvisation/Composing X 5. Critical Response 6. Purpose/Meaning in Arts 7. R oles of Artists in Communities X 8. Concepts of Style/Influence/Change 9. Inventi ons/Technology in the Arts 10. Interdisciplinary Connections Behaviora l Learning Objectives: The Student will be able toÉ List and describe each of the 7 elements of music. Analyze how each of these elements is used in r ock n' roll music. Discuss and demonstrate how each of the elements is used in listening examples . Type of Assessment: Diagnostic Formative Summative Formal X Informal Assessment: See pg. 57 for assessment rubric. Materials: Stereo System Computer w/ iTunes White board S ong: "Care of Cell #44" by The Zombies Sequence & Duration of Activities : Time in Min utes 4 Min 5 Min Activity Students will actively listen to "Care of Cell #44" by The Zombies. Each student will be asked to describe one thing about

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 49 5 Min 1 Min 3 Min 15 Min 4 Min 10 Min the song they just listened to. Their response will be written on the board in one of seven unlabeled columns. After all stude nts have described at least one facet of the song , students will be asked to look at the columns of descriptors and try to label each column w ithout teacher prompting. The instructor will fill in any columns that have not been labeled or alter any columns that were mis labeled. The columns should be: Rhythm, Dynamics, Melody, Harmony, Timbre, Texture, and Form. Students will be asked to define these terms without teacher prompting. Teacher will define each of the seven elements of music and cite various examples of how these elements are used. Definitions and examples will be written on the white board. Students will actively listen to "Care of Cell #44" by The Zombies and listen for and be able to describe at least three of the seven elements. Students will participate in a discussion in which discussion in which each student shares at least one of his/her example s of how one of the element s is used in the song and to what effect. Teacher Effectiveness Reminder: Do not offer too much prompting at the beginning of this lesson, allow students to explore their own ideas and opinions without judgment. Remind students that there are no wro ng answers in the first half of this lesson and all ideas should be respected. Encourage students to participate. Unit 6 Ð Day 3 Ð Writing your own Folk song (aligned with Unit Plan on Pg. 21 23 ) Teacher Name: Mr. Matthew Burwell Date: Subject/Grade: History of Rock n' R oll /9 th 12 th grade. Concepts/Skills/Values: To achieve u nderstand ing of how folk music of the 1950's and 60's was used a vehicle for social and political changes. Using this knowledge , students will write 2 3 stanzas in a folk style about a social or political issue that is meaningful to them in today's society. Massachusetts State Arts Frameworks 1. Singing 2. Reading/Notating 3. Playing Instruments X 4. Improvisation/Composing X 5. Critical Response X 6. Purpose/Meaning in Arts

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 50 X 7. Roles of Artists in Communities X 8. Concepts of Style/Influence/Change 9. Inventions/Technology in the Arts 10. Interdisciplinary Connections Behavioral Learning Objectives: The Student will be able toÉ Describe how folk music was used as a vehicle for social and cultural change. Analyze the Bob Dylan song "The Times They Are A Changing" and interpret/explain the meaning of th e lyrics. Create 2 3 stanzas of lyrics about a social or political issue that is meaningful to them in today's society. Type of Assessment: Diagnostic Formative Summative X Formal Informal Assessment: See pg. 57 for assessment rubric. Materials: Stereo System Computer w/iTunes Song "The Times They Are A Changing" by Bob Dylan lyric sheet of "The Times They Are A Changing" Acoustic guitar Sequence & Duration of Activities : Time in Min utes 5 Min 4 Min 15 Min 5 Min 10 Min 8 Min Activity Review and discuss topics covered in the previous two days. Focusing on social and political changes highlighted in folk music (workers rights, unions, civil rights etc.) Listen to the song "The Times They Are A Changi ng" by Bob Dylan, have students focus on the lyrics and follow along with their lyrics sheet. Interpret and discuss the meaning of the lyrics in the song. S tudent s should choose a current social or political issue that they would like to write about. Students should complete their first stanza (at least 4 lines). The stanzas may or may not rhyme. Teacher will choose two examples of student work and perform them using improvised chords (I, IV, V7) and melody. Teacher Effectiveness Reminder: Allow students lead the review session. Ask leading questions but don't just recite the main topics covered in previous lessons. Allow for students to use their interpretation of lyrics. Remind them there is no "right" answer. Remind students their l yrics will be assessed on content not style or composition.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 51 Remind students that the teacher will be performing the songs and they will not be asked to sing (unless they want to). Unit 7 Ð Day 5 Ð Session Musicians. ( aligned with unit plan on Pg. 23 25 ) Teacher Name: Mr. Matthew Burwell Date: Subject/Grade: History of Rock n' R oll /9 th 12 th grade. Concepts/Skills/Values: Determining the roll of session musicians, specifically in Soul music. Analysis of the sounds and style of the three major Soul house bands (The Funk Brothers, Booker T & The MG's, and The Swampers). Massachusetts State Arts Frameworks 1. Singing 2. Reading/Notating 3. Playing Instruments 4. Improvisation/Composing X 5. Critical Response 6. Purpose/Meaning in Arts X 7. Roles of Artists in Communities X 8. Concepts of Style/Influence/Change 9. Inventions/Technology in the Arts 10. Interdisciplinary Connections Behavioral Learning Objectives: The Student will be able toÉ Describe the roll of the session musician, the skills involved, how they were utilized and what degree of "fame" they achieved . Discuss the three major Soul labels (Motown, Stax , and Atlantic), what was unique about each and how their house bands influenced their sound and style. Analyze the roll of race in these house bands and compare it to the overall culture of music at the time. Type of Assessment: Diagnostic Formative X Summative Formal Informal Assessment: See pg. 58 59 for summative unit test. Materials: Computer w/ iTunes Stereo System Test #4 White board Sequence & Duration of Activities : Time in Min 25 Min Activity Students will participate in a discussion in which the three videos watched in class (Standing In The Shadows of Motown, Respect Yourself: The Stax Records Story, and Muscle Shoals). Focus on the house bands of each record label. Answer the following que stions: a) Who were the musicians in these house bands? b) What was their musical background? c) How did they contribute to the hits that the artists they

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 52 22 Min were recording for had? d) Were they fairly compensated? e) How was each of the house bands unique i. e. recording process, style and overall sound? f) What was the racial makeup of these house bands and how did it reflect, or differ from the overall culture at the time? Administer summative test on the Soul music unit. Teacher Effectiveness Reminder: Refer back to specific examples in each of the videos shown in class. Be sure to engage all students. Address all aspects in the Activity section of the lesson plan. Unit 11 Ð Day 2 Ð Lyrical Analysis. ( aligned with unit plan on Pg. 33 35 ) Teacher Name: Mr. Matthew Burwell Date: Subject/Grade: History of Rock n' R oll /9 th 12 th grade. Concepts/Skills/Values: Lyrical analysis and the abili ty to draw inferences, synthesize meanings and relate these meanings to culture. Massachusetts State Arts Frameworks 1. Singing 2. Reading/Notating 3. Playing Instruments 4. Improvisation/Composing X 5. Critical Response X 6. Purpose/Meaning in Arts 7. Roles of Artists in Communities 8. Concepts of Style/Influence/Change 9. Inventions/Technology in the Arts 10. Interdisciplinary Connections Behavioral Learning Objectives: "The Student will be able toÉ" Demonstrate active listening. Analyze lyrical content. Utilize lyrical analysis to compare the perceptions of Southern culture. Compare two pieces of music objectively. Type of Assessment: Diagnostic Formative Summative Formal X Informal Assessment: See pg. 59 assessment rubr ic. Materials: Computer w/ iTunes Stereo System song: "Southern Man" song: "Sweet Home Alabama" Lyric sheet "Southern Man" Lyric sheet "Sweet Home Alabama"

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 53 Sequence & Duration of Activities : Time in Min utes 5 Min 10 Min 6 Min 5 Min 5 Min 16 Min Activity Review content from the previous lesson focusing on Southern culture. Students will participate in a discussion regarding the culture and politics in Alabama in the early/mid 1960's. Include George Wallace, Bull Conn er and the Southern Christian Leadership. Listen to "Southern Man" by Neil Young, students should follow along on their lyric sheets. Discuss the lyrical content of "Southern Man". Listen to "Sweet Home Alabama" by Lynard Skynard, students should fol low along on their lyric sheets. Students will participate in a discussion on how these songs relate to one another lyrically. Students should relate the lyrics of these songs to cultural issues covered previously. Questions to ask: a) What is the dial ogue between these two songs? b) What is the perception of "Southern Man" and how is it refuted in "Sweet Home Alabama"? c) Does Lynard Skynard do an effect job defending their views? Are their views appropriate in light of Southern history ? d) Does the fact that Neil Young is Canadian matter to you? e) Which song speaks to you more? Why? Teacher Effectiveness Reminder: Ask students why "The Swampers" are mentioned. Do they remember who they are? Be sure to engage all students. Address all aspe cts in the Activity section of the lesson plan. Allow students to freely express their opinions while guiding them around hot button racial issues. Students should feel comfortable appropriately expressing themselves. Unit 13 Ð Day 2 Ð Loops and Listening Maps. ( aligns with unit plan on Pg. 37 40 ) Teacher Name: Mr. Matthew Burwell Date: Subject/Grade: History of Ro ck n' R oll /9 th 12 th grade. Concepts/Skills/Values: Ability to recognize how songs can be "cut up" and sampled to c reate new music.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 54 Massachusetts State Arts Frameworks 1. Singing 2. Reading/Notating 3. Playing Instruments 4. Improvisation/Composing X 5. Critical Response 6. Purpose/Meaning in Arts 7. Roles of Artists in Communities X 8. Concepts of Style/Influence/Change X 9. Inventions/Technology in the Art s 10. Interdisciplinary Connections Behavioral Learning Objectives: "The Student will be able toÉ" Demonstrate active listening. Analyze how loops are extracted and rearranged to create new music. Compare how section of a song or loop is used in the original piece it comes from and then how it is utilized in a new work. Create a listening map. Type of Assessment: Diagnostic Formative Summative X Formal Informal Assessment: See pg. 60 for assessment rubric. Materials: Computer w/ iTunes Stereo System Listening map template TV w/ Apple TV song: "(Not Just) Knee Deep" by Funkadelic song: "Atomic Dog" by George Clinton song: "Give Up The Funk (Tear The Roof Off The Sucker)" by Parliament song: "Who Am I (What's My Name?)" by Snoop Dogg (clean) Sequence & Duration of Activities : Time in Min utes 15 Min 5 Min 4 Min 3 Min 4 Min Activity Students will participate in a discussion on Parliament/Funkadelic and their leader George Clinton. Include listening examples and video clips. Students will participate in a discussion on how samples are used, specifically in Hip Hop music. Highlight the fact that many early Hip Hop songs used loops from Parliament/Funkadelic. Listen to "Who Am I (What's My Name?)" by Snoop Dogg. Teacher will e xplain how listening maps are used and the process the cla ss will go through to complete their listening map of "Who Am I (What's My Name?)" by Snoop Dogg. Listen to the first 2 minutes of "(Not Just) Knee Deep" by Funkadelic several times. Point out the bass line at :52 and have students label this "sample 1" .

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 55 3 Min 3 Min 10 Min Listen to the first minute of "Atomic Dog" by George Clinton several times. Students should listen for the melody at :47. Label this "sample 2". Listen to the first 1:30 "Give Up The Funk (Tear The Roof Off The Sucker)" by Parliament several times. Students should listen for the vocal melody. Label this "sample 3" Listen to "Who Am I (What's My Name?)" by Snoop Dogg (clean version) twice . Use the above samples to make a listening map and describe how these samples are used and to what effect. Teacher Effectiveness Reminder: Remind students what active listening is and that it is important they use this skill for this lesson. If students are still unsure of the use of samples play "Otis" by Kanye West and Jay Z. Unit 16 Ð Day 6 Ð Perfo rmance Practice Analysis. ( aligns with unit plan on Pg. 45 47 ) Teacher Name: Mr. Matthew Burwell Date: Subject/Grade: History of Rock n' R oll /9 th 12 th grade. Concepts/Skills/Values: Analyze and describe the changes ushered in by Rock n' roll of the early mid 1990's. Draw connections between two pieces of music based on both the music itself as well as the performance practice of the artists. Massachusetts State Arts Frameworks 1. Singing 2. Reading/Notating 3 . Playing Instruments 4. Improvisation/Composing X 5. Critical Response X 6. Purpose/Meaning in Arts 7. Roles of Artists in Communities X 8. Concepts of Style/Influence/Change 9. Inventions/Technology in the Arts 10. Interdisciplinary Connections Behavioral Learning Objectives: "The Student will be able toÉ" Describe what was occurring in the late 1980's in r ock n' roll music and the drastic change ushered in by Grunge music. Discuss performance practices of Grunge bands and how the differed from music of the late 1980's. Analyze two videos/songs and compare and contrast both the music itself and the performance practices of the two bands. Type of Assessment: Diagnostic Formative Summative Formal X Informal

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 56 Assessment: See pg. 60 for assessment rubric. Materials: Computer with internet access White board Sequence & Duration of Activities : Time in Min 15 Min 5 Min 5 Min 5 Min 5 Min 12 Min Activity Review performance practices. Highlight some of the artists we've talked about before in the course and describe their performance practices. Refer to videos shown previously if needed. Watch the video of 1990's "Blaze of Glory" by Bon Jovi. Focus on the way the band is portrayed visually as well as timbre and texture of the song. Students will participate in a discussion in which the performance practices of the band in this video. What do they look like? How would you describe their style? What are they singing about? Watch the video of 1991's "Smells Like Teen Spirit" by Nirvana. Discuss the performance practices of the band in this video. What do they look like? How would you describe their style? What are they singing about? Students wil l c ompare and contrast these two videos both on the merits of their music and the performance practices. Compare the timbre and texture of the two pieces. Teacher Effectiveness Reminder: Allow students to choose bands/artist we've covered in the course in relation to performance practices. This will give them some ideas about their final project. Don't spend all the discussion time talking about the clothing/hair style of these artists, be sure to devote at least 50% of the discussion to the mu sic itself. Assessments The assessment portion of this curriculum plan is crucial. The following assessments are designed to measure the ability of students to achieve the behavioral learning goals outlined in the associated lesson plan. These asse ssments should not only be used to measure students growth and comprehension but should also serve as a gauge to measure teacher effectiveness. It is important to not only analyze each individual

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 57 student's assessment but also to look at the class as a whole and check for successful alignment in regards to the overall behavioral learning goals. While the length of time needed to complete these formal and summative assessments may be varied they are specif ically designed to accurately measure the students' ability to achieve the behavioral learning goals addressed in each lesson or unit plan. Care should be taken to allow for modifications of any assessment to accommodate special learners. These modificat ions could include the addition of time allotted to complete an assessment, modifications to the assessment itself or consideration of an alternate assessment that still effectively measures students grasp of the behavioral learning goals. Unit 1 Ð Day 2 7 Elements of Music ( aligns with lesson plan on pg. 47 49) Yes No Participates in class discussion. Actively contributes and is on topic. Offers at least one example Demonstrates active listening. Unit 6 Ð Day 3 Ð Writing your own Folk song ( aligns with lesson plan on pg. 49 50) 2 1 0 Subject Subject addresses a current political or social issue. Subject addresses a political or social issue but is not current. Subject does not address a political or social issue. Length 2 3 Stanzas 1 Stanza No stanzas Content Subject is accurately portrayed. Subject is poorly portrayed. Subject is not portrayed. Detail Song shows exemplary attention to detail. Song shows some attention to detail. Song shows no attention to detail.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 58 Unit 7 Ð Day 5 Ð Summative unit test ( aligns with lesson plan on pg. 50 51) History of Rock n' R oll Test #4 Soul Music 1. Soul music is a mixture of R&B and gospe l music. 2. The unofficial soul hairstyle is known as the afro . 3. Name one of the two blind soul musicians we've talked about in class. Ray Charles/Stevie Wonder 4. Known as "The Godfather of Soul" James Brown had his first major hit with "I Got You (I Feel Good)" in 1965. 5. Motown records was started by Berry Gordy in a Detroit house in 1959. 6. The Motown house band was known as The Funk Brothers . 7. Smokey Robinson was known for using his falsetto voice, or a range much higher than his natural singing range. 8. With over 40 Top 40 hits with Motown, Mar vin Gaye was tragically murdered by his father in 1984. 9. Lead by Diana Ross The Supreams were the most financially successful Motown group. 10. Managed by their overbearing father Joseph The Jackson 5 was signed to Motown when their youngest membe r was only 11. 11. Booker T and The MG's were the house band of Stax Records. 12. Dock Of the Bay, Otis Redding's first #1 hit was released just weeks after his death at 26 from a plane crash. 13. Known as "The Queen Of Soul" Aretha Franklin recorded her first soul hits at Muscle Shoals Studies in Alabama. 14. The song Respect was written by Otis Redding . 15. The artist that scored the #1 hit with Respect was Aretha Franklin .

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 59 16. The Motown Studio was actually in the garage of the ho use the business was run out of. 17. James Jamerson played bass in the Motown house band. 18. Name some of things that were going on in early 1960's black America that influenced Soul Music. The Civil Rights Act The Voters Rights Act Black Pride Black owned business Black Power Assignation of Dr. King _Segregation Race Riots Success and acceptance of black athletes 19. What was the main different bet ween the Motown and Stax sound? Motown Ð cleaner more "professional" recordings use of professional songwriters and arrangers use of orchestral instruments in lush arrangements focus on the appearance and performance practices of artists' use of overdubs Ð large distribution power Stax Ð raw, gritty, "un refined", many performers wrote their own songs, music recorded live with little overdubbing, did not have as distribution power Match the following songs with their artists: 20. _____ A. M arvin Gaye 21. _____ B. Ray Charles 22. _____ C. Aretha Franklin 23. _____ D. Booker T & The MG's 24. _____ E. The Jackson 5 25. _____ F. James Brown BONUS: The Funk Brothers played on more hits than Elvis, The Beach Boys and The Beatles combin ed. Wilson Pickett's nickname was Wicked Pickett. Ray Charles, James Brown, Aretha Franklin and members of Booker T & The MG's were all featured in The Blues Brothers Movie, a spin off from SNL.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 60 Unit 11 Ð Day 2 Ð Lyrical Analysis ( align s with lesson plan on pg. 51 53) Yes No Participates in the discussion. Offers perceptions of at least 1 topic in the lesson. Actively listens to examples. Unit 13 Ð Day 2 Loops and Listening Maps ( aligns with lesson plan on pg. 53 54) 2 1 0 Participates in class discussion. Demonstrates active listening. Completes Listening Map. Accuracy of Listening Map. Unit 16 Ð Day 6 Ð Performance Practice Analysis ( aligns with lesson plan on pg. 54 56) Yes No Participates in the discussion. Offers perceptions of at least 1 topic in the lesson. Shows understandings of performance practice.

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 61 References Andrews, B. (2004 ). Musical contracts: fostering student participation in the instructional process. Internati onal Journal of Music Education, 22 ( 3 ) , 219 229. DOI: 10.1177/0255761404047398 Choate, R. A. (Ed.). (1968). Music in American society: Documentary report of the Tanglewood Symposium . Washington, DC: Music Educators National Green, L. (2006). Popular music education in and for itself, and for 'other' music: current research in the classroom . International Journal of Research in Music Education , 24 ( 2 ) , 101 118. DOI: 10.1177/0255761406065471 Green, L. (2002). How Popular Musicians Learn: A Way Ahead for Music Education. Burlington VT. Ashgate Publishing. Hebert, D., Campbell, P. (2000). Rock Music in American Schools: Positions and Practices Since the 19 60s. International Journal of Music Education , 36 (1 ), 14 22. DOI: 10.1177/025576140003600103 Jaffurs, S. (2004). The Impact of informal music learning practices in the classroom, or how I learned to teach from a garage band. International Journal of Research in Music Education, 22 (3 ) , 189 200. DOI: 10.1177/0255761404047401 Linder Crow, Jo. (2000). Writing Behavioral Objectives and Assessments. Guidelines For Writing Behavioral Objectives. Sacramento, CA. California Psychological Association. Mantie, R. (2013). A c omparison of " p opular m usic p edagogy" d iscourses. International Journal of Research in Music Education, 61 ( 3 ) , 334 352 DOI: 10.1177/0022429413497235

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A HISTORY OF ROCK N' ROLL CURRICULUM FOR HIGH SCHOOL 62 Massachusetts Arts Curriculum Frameworks. (1999). Malden, MA. Massachusetts Department of Elementary & Secondary Education. McCarthy, M. (1995). "American Music for American Children": The Contribution of Charles L. Seeger. Journal of Research in Music Education, 43 (4) , 270 287. DOI : 10.2307/3345727 Music Educators National Conference. (1994). National standards for music education. Reston, VA: Music Educators National Conference. Williams, D. (2007). Reaching the "other 80%:" Using technology to engage "non traditional music students" in creative ac tivities . Prepared for the proceedings of the Tanglewood II "Technology and Music Education" Symposium, University of Minnesota, April 2007. Wiggins, G. & McTighe, J. (2011). The Understanding by Design Guide to Creating High Quality Units. Alexandria, VA. Pearson. Woody, R. (2007). Popular m usic in s chool: Remixing the i ssues. Music Educators Journal , 93 ( 4 ) . 32 37. DOI: 10.1177/002743210709300415 Woody, R. (2013, July 29). Providing Vernacular Music Experiences to Formally Trained Music Educators . Being musical. Being human. Message posted to http://beingmusicalbeinghuman.com/2013/07/29/providing vernacular music experiences to formally trained music educators/